A fantastical beast is on the run in Jess Kohl's offbeat promo for Heartbreaker - and it's up to Birdy to find and take care of him.The artist is shown cleaning tables at a cafe under the watchful eye of the owner, and it isn't long until a news alert pops up on the TV screen that mentions the beast. That night, the creature visits Birdy at her house, and she takes it upon herself to protect him, right until a twist at the end. The anachronistic aesthetic - which blends 90s public access TV clips and 70s art direction - gives the video an unearthly vibe, which is elevated by brilliant creature effects and an intriguing narrative that doesn't end quite the way you expect it to.

James Slater applies rules of the Old Masters to his video for Liverpool band Blondes, contemplating their post-party blues in Low On The Comedown.Slater's classically-inspired portraits of the band become increasingy complicated and crowded, as the party itself starts to encroach into proceedings."The video is inspired by the compositions in classical paintings," says Slater. "I asked the band to invite their mates along to this empty house in Liverpool and got them to form a big pile. It’s the morning after the night before composed like a Caravaggio painting."

Roisino's directs the video for Baby Queen's Wannabe as a cartoonish version of a band's early steps to rock stardom, with Bella Latham (aka BQ) and her colourful buddies lounging in a chaotic 'green room' area, before a triumphant live performance to enthusiastic fans.Tapping into the penetrating self-analysis that you get with every Baby Queen song, Roisino drew on their own teenage experiences hanging with friends who had bands that were trying to make it, and trying to be cool."The narrative of ‘Wannabe’ is a satirisation of anyone who doubted Baby Queen’s musical abilities," says Roisino. "We follow Bella in a vintage surrealist world; a chaotic yet stereotypical green room, through to an onstage pop queen hero moment."Drawing references from instinctual play in youth; I referred back to a time in my life between fifteen and eighteen whereby I was constantly surrounded by bands, always at soundcheck and hanging out in the green room."We definitely weren’t considered cool, but it was a period of time in my life that is unmatched in terms of its feeling of unification through difference. We were the misfits, the oddballs, the weirdos and wannabes; the kids that wouldn’t ever make it. Look at us now."

Liam Desroy directs a vibrant performance video for Irish indie-pop outfit modernlove., combining the band's driving rendition of Us with screen projections to great effect.The visuals are underpinnned by silhouettes of the band playing against projections of solid colours, enhanced by grainy artefacts, before introducing new elements - greater interplay between the band members; the head of an angelic-looking young woman appears on the screen behind singer Barry Lally.Finally, the pulsating and expansive nature of the song is reflected by the band being joined by an enthusiastic crowd in front of the screens. It's a well-crafted work that pays homage to the indie-pop genre, described by Wonderland as "a visual delight to those who witness it."

When he's not being dragged down the street, South London troubadour Joey Maxwell mulls over life's struggles in a deserted pub, in Amitybloc's video for Too Much. But there is no keeping this feisty fellow down for long.The fun times start to return once he meets up with 'Auntie' in the shopping precinct, and presents her with a brand new mobility scooter. Joey cannot help hitching a ride, and then blazing a trail back to positive vibes.This is the latest project for Maxwell and his brand of jaunty bedroom-pop by creative studio Amitybloc, who have shot stills and visualisers for the his debut EP, including video and lyric video for the single my self.

Pale Waves are back, with a fresh vision of their catchy 90s-inspired indie-pop, and the video for Change by Johnny Goddard - one third of directing collective Youth Hymns - definitely captures that spirit of the Nineties.It's a dreamy, textural performance video that brings a hyperreal sense of nature into a studio setting. Pale Waves' Heather Baron-Gracie delivers the heartache at the heart of Change lying in a field of flowers, surrounded by giant butterflies. Then she gets into gothier gear to perform in a meadow with the band - and be caught in a serious downpour.The video - the second from new Dirty Films new division Monster - was released earlier this month after Radio 1’s Hottest Record in the World premiere.