Roger Spy self-directs a boisterous vertical promo for new track Suck My Wig, as he becomes a surprising recruit to the macho world of grassroots football - and owns it big time. Spy's comeback video is a frenetic montage of iPhone footage, shot during football practice on a West London astroturf pitch, in an impressively raw style. It really works.Gloriously strange and tongue-in-cheek, the unexpected setting and playful shooting style add a gritty, textural dynamic to the retro-pop style of the track."The song has got nothing to do with wigs," Spy explains. "I wanted to contrast the title with the most possible male toxic theme I could think of and place myself in it."For the video I also wanted to contrast the heavy hyper pop production with a minimal approach, so I stripped down all initial plans I had for lights, camera, lenses and drone and ended shooting an iPhone 14 Pro Max, to give it the dirt, grit and raw rough edges I felt it deserved."I envisioned the song as a lovechild of Bowie, MJ and Madonna. The song is about owning my manhood and if you don't like it you can suck my 'wig'."

Mitski builds herself a tower in AG Rojas's return to music videos with My Love Mine All Mine, shot by Evan Prosofsky.Firstly we see the artist in an empty industrial space, stacking chairs higher and higher, into an improbably tall tower. Eventually, she places an egg under the bottom chair, and proceeds to climb this precarious structure.The track is the first single from Mitski's new album, The Land Is Inhospitable and So Are We - comprised of songs written in bursts over the years since Mitski openly contemplated retirement from the music industry, with bravely vulnerable lyrics expressing the universal feelings of aching for and moving toward love.On first viewing the video feels more in the orbit of the singer-songwriter's canon of intriguing, often theatrically intense music videos than the visually poetic work that Rojas is known for. But within this interior setting, the director delivers on his reputation for creating memorable imagery with a strongly symbolic idea that dovetails beautifully with Mitski's sensitive delivery.

Mónica G. Carter directs a blue-hued Nineties-influenced promo for up and coming R&B singer Essosa.Successfully channelling the classic Hype Williams style in his music video directing pomp, the video for Waste My Time lives in an anachronistic space, blending retrofuturism with thrilling dance sequences, and centred around Essosa's absorbing performance. And the director says it was her intention for the video to feel timeless."I took inspiration from late 90s / early 2000s R&B/pop videos and mixed in a modern-minimalistic-futuristic feel," says Carter. "I wanted to make the viewer feel like they were traveling in time but not knowing whether they were traveling backwards or forwards: nostalgia colliding with avant-guard."We didn’t shy away from simplicity, on the contrary we leaned into it, ensuring that each department collaborated together to create something that felt uniform and exciting: From the cinematography, to the art design (betting on the monochromatic blue colour pallet), to the amazing choreography/ performance. I wanted to give the audience space to meditate, to feel Essosa’s captivating music."

Sebastien Nuta romanticizes the End of the World in his promo for Dana Williams. Across a bold series of studio vignettes, we see Williams perform with minimal props or visual accompaniments, commanding attention with her otherworldly presence and style. The concept is strikingly effective, encapsulating the bittersweet emotions of the track in a simple, stripped-back fashion. Yet the unexpectedly vibrant primary colour palette adds a fresh, memorable twist to the imagery.