The return of Jack Sibley's music project North Downs after a four-year hiatus is heralded with the psych-drenched electronica of Here Come Butterflies and an absorbing visual interpretation directed by Jake Mavity, featuring Farah Ashraf as a girl undergoing a remarkable transformation.In the video, the girl's commonplace life on a canalside walk is interrupted by visions, and then a room of TVs with distorted images of Sibley performing, and another version of herself, trapped in the TV, wearing a green party dress. When 'real' Farah connects with the girl in the TV it triggers a change, where she becomes that other version of herself, within an enclosed mirror-lined space - until she is ready to emerge from the cocoon.Sibley's brief for Mavity was to represent a butterfly's transformation within its chrysalis - in the song he draws a parallel between humanity's incessant drive for technological advancement with the instinct of a caterpillar building its cocoon - and Mavity's response was to take a strictly in-camera, analogue approach, mostly eschewing digital VFX in favour of practical effects.Most crucially he built a real, mirror-lined 'cocoon' space, in an LED studio, in which he had enclosed Ashraf. Previously shot footage was played onto the LED studio floor, reflecting up on to the mirrors in the cocoon surrounding Ashraf.“Jack approached me with not just the banger that is Here Come Butterflies but also an intriguing creative vision too. There seemed to be a commonality with the transformation we underwent everyday via our online, digital lives."So the question was how best to explore what happened inside a butterfly’s cocoon during metamorphosis? How could we peel back the skin and expose the flesh beneath.“We built a 3 metre high, mirrored cocoon and then projected imagery we’d shot from an LED floor, creating a kaleidoscopic effect. We also played footage of North Downs performing through various analogue filters, adding effects and pulses organically and instinctively as the track played."It was a wild-pitch acid house mindset and meant there was a degree of uncontrolled rawness that complimented the ethos of the track perfectly.”

Thomas Davis follows up his impressive series of videos for NOISY - most recently the wonderfully bonkers Young Dumb - with something just as off-the-wall for the returning Frank Carter & The Rattlesnakes.Unsurprisingly for the heavily tattooed tattoo artist-rocker with a song called Go Get A Tattoo, the video is set in a tattoo parlour. A nervous young man enters to have his first ever tattoo applied by Frank - but what happens next is much less predictable.When Frank's needle hits, and the customer howls in pain, we enter a darker, nightmarish world where Frank and the band tauntingly peform Go Get A Tattoo, and as the young man attempts to escape he is confronted by the rubber-masked presence of featured artist Lynks - emerging from a toilet. Davis and his team provide a stream of 'house of horror' sight gags - mostly created in-camera, with an added smidgeon of VFX - as the poor devil careers through his psychedelic nightmare, and finally imagine he is being consumed by his own tattoo design. It's a terrific vehicle for Frank Carter's no-holds-barred take on rock 'n roll - his tattooing skills, not so much...

Indy Hait creates a mesmerizing performance video for Lola Marsh, with multiplying ghosting effects – all shot in camera without using VFX.Lead vocalist Yael and guitarist Gil face off as they perform, each joined by several copies of themselves, creating a trippy visual you won't be able to take your eyes away from.The promo was shot entirely on 16mm, on location in Kiev. Influenced by 1970's filmmaking and dance offs from films like Pulp Fiction, it's beautifully constructed and choreographed: seven dancers line up behind Yael and Gil, who look and move exactly like them. The effect is to show the passage of time, past and present, in a single shot, as if it's an infinite dance."The band got very excited about the idea," says Hait. "So we had to find a way to nail each scene even on a Super 16 format. So it clearly had its challenges!"