James Theseus Buck and Luke Brooks - aka Rottingdean Bazaar - bring their innovative mixed media magic to Audiobooks' new promo for Lalala It’s The Good Life.Working with longtime collaborator Annie Collinge, they styled and photographed the band in a studio to create stills for detailed fabric prints. They then poke hands through, fold, wobble, and vacuum the prints against a variety of muted backdrops, allowing them to pop off the screen.By packing each frame with clever movements to create the impression of moving lips, guitar playing and dancing - and that's just the start of it - the video has instant replay value. In true Rotttingdean style, they capture the chaos and fun of the track while creating something that is distinctively them. Following on from their adventurous abstract fashion film Scale, their music video for the band Dry Cleaning, and pieces for Burberry, Bottega Veneta, Microsoft and Paul Smith, Rottingdean Bazaar continue to push boundaries and expand their impressive portfolio into new and exciting places.

Dir. Lx channels an ob-doc feel with his latest video for DC, utilizing a lo-fi, multi-format approach to bring out some authentic vignettes and performances from the rapper.Struck with the challenge to make the ordinary extraordinary, Lx brings together a whirlwind of video, photography and animation elements, in which DC delivers an authentic performance with an understated energy.Showcasing DC's home and community in South East London, the opening of the video establishes the location and aesthetic, switching between quickfire burst photography and fly-on-the-wall filming, capturing the rapper and his friends in a variety of candid, natural setups. VFX artist Asad Naveed breaks up the naturalism with interesting and unique effects, including a shrivelled ball of paper frenetically unravelling to become a car, totally offbeat yet effective within the style of the visual.DoP Sam Meyer thrives in the space between realism and conceptualism, and in this video he uses unusual composition, perspectives and camera movement to elevate the aesthetic, and create something that is far removed from the "norm".Switching from the urban environment to a boundless forest on the outskirts of the city, the change in pace and style is reminiscent of the themes in the track, looking to get away from the hustle and bustle of everyday life, to a secluded sanctuary with no-one around.Boundary-pushing and remarkably engaging, Dir Lx smashes through genre conventions to create something fresh, unique and perfectly suited to the music. (BTS shots captured by @Lucero)DIR. LX: The discussion before shooting was about how we avoid the typical ‘estate-block' video clichés."I’m a fan of DC so when he contacted me and sent me the track I was excited. The song gave me that nostalgic feel of growing up in the blocks and the garage era, so it was only right we took it back there."The discussion prior to shooting the video was about how, technically, we avoid the typical ‘estate-block' video clichés. That’s where the mixed formats and zoom lens came in. "We talked about setting the whole video in the woods but we both decided we’d be neglecting DC's environment and the subject matter of the song. "The song is called Neighbourhood and he raps about wanting to make his money and not be famous, and be secluded, out in the sticks (countryside) with no neighbours, but there’s a sense of community in the song. So I used that, and wanted to pay homage to the orange couch in the TV Series The Wire, which I’ve always been a fan of."The couch represents community, and carries with it a sense of comfort you find in the place that you grew up in. I thought that tied in nicely with the things DC’s talking about, so that’s why the couch seems to follow him and his boys around the estate, even out to the forest second half of the video."As always, big thank you to the whole crew who helped just before this pandemic went crazy. Kareem Adeshina (Head of Music videos at Greatcoat Films/ Producer) for helping me bring this video together, Sam Meyer (DOP) for his eye and Chris Bell (Colourist at Creep) for bringing this video to life."