Ozzie Pullin directs an affectionate promo for James Bay, exploring a couple's journey through their lives together. Celebrating milestones such as moving into a new house and having a child, we see them share intimate moments through VHS and film footage, as if it were shot themselves. "I loved the idea of playing with memory and nostalgia, but seen through the most intimate and personal perspective," says Pullin. With a beautiful performance interwoven throughout the narrative, it's a great little video that packs an emotional punch.

London-based singer-songwriter Wyldest - aka Zoë Mead - revisits old memories in Mark Van Heusden's promo for Abilene. The video starts with a young woman moving out of her flat, and then discovering an item in one of her boxes that leads her to reminisce about times with her best girlfriend. Cue some very well-observed and entertaining scenes of the pair hanging out together, back in the day, as two quite different characters develop a special bond. Instead of focusing on the sad aspects of what has been lost, the concept celebrates the enduring power of friendship. Nicely played by Izabella Maleska - in the Wyldest role - and Tutku Barbaros as her friend, Van Heusden also honours that important dramatic rule that opposites attract. "In the video I decided to focus on a memory of an old friend, but instead of making it sad I wanted it to be happy and even a bit silly," explains Van Heusden. "Whenever you come together with an old friend you always bring up the silly and funny memories that make you laugh and enjoy past times - and that is what this video portrays. Each memory is a little vignette with a fun twist hidden in it."

Sel Maclean directs an evocative promo for Newcastle-based rock band Pit Pony. The video for Supermarket follows a character who recollects a fond memory, leading her to start fantasizing and reliving the night. As her recollections become more and more vivid, her feelings become entangled in a messy dose of nostalgia.The distorted soundscapes are matched with chaotic cinematography, which builds to a warped blend of strobing lights, quick-cut edits and oversaturated colour, which matches the dreamlike mood of the concept. "The main goal with this video was to match the flow and increasing pace of the song through a combination of slow and fast cuts as well as a heavy emphasis on using lighting transitions to delve in and out of our character’s mind," explains Sel Maclean. "The energy of the song builds and builds for a long time on a bed of continuous heavy guitar sounds. The layered soundscape of these heavy distorted sounds creates a beautiful chaos of mood and emotions which was really important to represent visually and emotionally."Overall, with quite strict logistical and budget limitations we had to be creative in how we told the story. Having a really creative and collaborative team meant that there were plenty of ideas and workarounds to obstacles we faced on the day."

Tim Mattia directs the emotionally-charged promo for Bishop Briggs' High Water. The one-shot video is a stripped-back, intimate display of emotion, dedicated to Briggs' sister Kate, who died of cancer in 2021. Shot in black and white by Mattia's regular collaborator Justyn Moro, with the artist isolated against a desolate backdrop, the video is an absorbing and heartbreaking experience to watch, and feels like a true baring of the soul. The trust between the artist and director - who have previously worked together on videos for Champion and Tattooed On My Heart - is very apparent, and the unflinching performance is both a dedication to Kate's memory and a brave catharsis.A truly stunning collaboration between Briggs and Mattia, which will go down as one of the very best of its kind.

Luis Hindman directs a late-night meditation on lost love and blurred memories for Joesef's latest promo. The video for It's Been A Little Heavy Lately follows the artist on a hazy late-night drive, reminiscing about better times and missed opportunities. "I drew on filmmakers such as Wong Kar-wai, Kieslowski and Xavier Dolan for their ability to create heightened-realities and dream-like atmospheres," says Hindman. The intimate, understated energy of the piece perfectly matches the downtempo track, and the effervescent cinematography creates a dreamlike world which feels caught somewhere between reality and fiction. All of this paves the way for a shocking finale, which ends in a familiar place... "The video’s finale is a direct tie-in to a previous Joesef video for Comedown," Hindman explains. "So, yep, this is a prequel of sorts. Trilogy on the cards? We'll see..." Joesef gave a little background to the song itself, and the inspirations that made their way into the visual. "I wanted the song to feel like a bad trip, there’s a lot of different textures; the tempos are higher, and the drums are slightly swung," he says. "It also features a sample from the film Totally Fucked Up by Gregg Araki: the stories he tells, and how he portrays them visually inspire me every day, and fit the context of the song so well."I had to write to him for the sample clearance and he said 'yes', which was fucking mindblowing to me. He’s a hero of mine.”

Ladybug present their third collaboration with James Arthur, for new track Christmas Bells.The animated promo weaves a melancholy tale, which tells the story of an old man reliving memories he once shared with his wife during Christmas.An illustrated James Arthur features in the visual as the son of the old man, and eagle-eyed viewers will spot references to previous video September. Evoking a bittersweet, reflective vibe, the gentle animation of the lyrics and nostalgic vignettes paint a more sombre view of the festive season, encapsulating the mood of the track.

Filip Zaluska directs a stirring exploration of desire, love and betrayal in his exceptional visual for Rysy's Kilo. Opening with a shot of lead actor Magdalena Gorzelańczyk sitting bloodied and bruised at the side of the road, the video evolves through to a series of evocative scenes, depicting a love affair between Gorzelańczyk's character and a girl played Martyna Wrobel.The vignettes are presented in a dreamlike fashion, switching out each of the actors so that the other is interacting with blank space, raising questions about what is real and what is fake, in a complex amalgamation of memory and fantasy. Szymon Kuriata's cinematography adds otherworldly atmosphere to this story, with bold use of colour and a frenetic dichotomy of stillness and agitation. But at the core are a couple of memorable performances, particularly from the brilliant Gorzelańczy, brought to the screen in viscerally powerful fashion by Zaluska.

The Reids direct a cyclical promo for Rasharn Powell's Blunder. The video builds upon the idea of memories and cycles of thought, by using a perpetually rotating camera which captures Powell's performance and vignettes of a past relationship.The empty apartment setting is a familiar yet haunting backdrop to the concept, which meditates on what is left after a breakup, and how locations can hold reminders of what once was. The use of a wide angle lens and bright spotlight in the narrative snapshots adds a certain theatricality to the video, whilst Powell's powerful yet understated performance visualises the struggle inside his head.