Alfie Templeman is on the run from a gang of blue morph-suit hitmen, in Joel Barney's whimsical promo for Colour Me Blue.In a surreal game of cat and mouse, Alfie is chased through the sleepy streets of his hometown, Bedford, in a concept inspired by Edgar Wright and early Noughties music videos. The laidback style is a perfect match to Templeman's playful persona, and encapsulate the summer vibes of the track.

Will Clark directs the second part of the Backhand double bill with indie-pop foursome Buzzard Buzzard Buzzard. Picking up where Clark's video for Break Right In left off, we see the band's evil nemesis Mr Monadnock (played with admirable gusto by BBB's lead singer Tom Rees) dominated by an evil blue wig, which forces him to throw dance-shapes around the beautiful Breamore Estate.Building upon the narrative of the first video, it's quite a turn of events. And when the tenacious foursome decide to take back what's theirs, Monadnock seems strangely driven to chase it down. Bonkers, idiosyncratic fun, and a brilliant end to the double-feature.

Director Jack Turner takes us on a psychedelic journey in his new promo for Alfie Templeman.The video for Broken opens with Templeman at a vending machine, ordering an action figure of himself, before viewers are lead into a colourful, whimsical world from a rather downsized perspective. Tying into the concept of his debut album Mellow Moon, the set pieces are spacey, dreamlike and vibrant, and his playful performance invites us into a carefree world which echoes the jaunty track.

Alexander Brown directs a brilliantly ferocious performance promo for Bloc Party's return to action with Traps. Playing their comeback single, frontman Dele Okereke and his bandmates are effectively trapped themselves, within a seething mass of enthusiastic fans. This is presented in a disorientating fashion, mostly in extreme close-up - this was shot by DoP Pieter Snyman on a probe lens - intercut with the frenetic motion of the crowd, forcing their way ever closer to the group, and at one point dragging a bandmember from a car. The blood-red lighting and indistinct shots of the people surrounding them (they are wearing masks throughout) creates a breathless atmosphere, which matches Bloc Party's unconstrained energy. Overall, it's a brilliantly kinetic and stylish piece of work by Alexander Brown, making one of his irregular returns himself to music videos.There’s something intrinsically cathartic but also unsettling about being in a crowd."The basic idea for me, was to make a video which felt like you are in the middle of a mosh pit," says Brown. "After being conditioned by lockdown, there’s something intrinsically cathartic but also slightly unsettling about being in a crowd."I was immediately drawn into the sardonic character Kele created in the lyrics, which is all a bit wild and unhinged and lurid. I wanted to capture that feeling of being in a crowd or a club and not being entirely comfortable with the intimacy. It’s a performance video in all it's glory. I wanted it all to be shot in an unhinged way, as if the band are playing from within the crowd, removing the stage/crowd divide."The camera swings and turns like a headless chicken - and everywhere it turns we unravel a new moment. It feels chaotic but within the chaos we have disorientating, dizzying transitions, and carefully orchestrated setups with surprises and twists and turns along the way. The song is called Traps. So it seemed interesting to have the band feel like they were trapped in this mob and we can’t quite tell if its amazing, or uncomfortable.I wanted to give the video a touch of The Evil Dead."It was a conscious decision to give everyone masks. Aside from the safety aspect, I wanted the crowd to be anonymous and menacing - we don’t see anyone’s faces, only their legs, or chest. I want it to feel like a jungle of limbs. They are all wearing dark clothes so there is a homogenous feel to them, threatening."We shot this with a probe lens so we could go right up to the band, and do all sorts of amazing movements. Big thanks to Piet [Snyman] for waving around a metre-long camera completely handheld! We shot this on a Red Komodo, which I think makes it the longest lens, with one of the smallest cameras."Brown adds that the moment when the bandmember is dragged from the on-set car was another touch of madness that the song required. "I wanted to give the video a touch of The Evil Dead, and having the crowd pressed up to the glass, pulling Russel out of the door at the end just seemed to do that. We weren’t sure if we were going to get that on the day as it was the last shot, with twenty minutes to spare we just managed to squeeze it in. It was handy having an incredibly long lens as it means we could poke it right through a car window."I want to give a big shout out to all the people who came down on the day, the energy we got from the crowd was fantastic!"

Dream Inc. directs a poignant promo for indie rock band newfamiliar.Shot within a community in Thailand inhabited by people from all over the world, the film touches on loss and companionship, and conceptually draws a parallel to the structure of the lyrics. Thematically exploring one young woman's experience with loss, the greater narrative is very much open to interpretation, and these lingering questions appear both visually and sonically.The visuals meditate on the power of community, friendship and relationships, and delicately balance a documentary-style aesthetic with lovely cinematography.

Graham Michael Roberts directs a playful performance promo, for up-and-comers The Flitz.We follow lead singer Dan Fishlock as he travels from a house in Ealing to the expansive landscapes of Whitstable Bay, before meeting his band members for a climactic underwater performance. It's a fun video with charming energy and an entertaining concept, and an excellent introduction to the London-based indie-rock outfit.

Noah Linn self-directs a lo-fi homage to innocence and utopia, in his promo for Disneyland. Shot using a prosumer Canon camera, UV paint and a black light, the concept is stripped-back and minimalist, matching the sprawling musical landscapes he boasts in the track.It's a fun and understated affair, with a catchy tune that echoes old-school Weezer.

James Slater directs a gothic fantasy for indie-rock outfit Pale Waves. Taking place in a nondescript church, the performance video is simple in concept, but executed to perfection, with vocalist Heather Baron-Gracie as the constant focus as a radiant goth bride. DoP Jon Muschamp's lighting adds an ethereal feel to the aesthetic, with effervescent bursts of colour inspired by stained glass windows and blue-tinged key lights to create a cold, almost haunting atmosphere. The production design is also a highlight, utilising scattered practical lights and candles to elevate the enigmatic concept.