Sans Soucis is an omnipresent force in Jay Green's fantastic promo for I Know Your Present. With a high contrast, monochromatic aesthetic, we see the artist standing in the middle of bustling London streets, serving as the narrator of the passing crowds' lives. Utilising a mixed media approach - blending video and time lapse photography - the video is an arresting portrait of a fascinating artist, and the focus on the environment as well as the performance elevates it to a new level.

Milo Blake harnesses the explosive energy of Royal Blood, through the experience of one audience member at a tumultuous gig, in his promo for Mountains At Midnight.The blistering video is a sensory exploration of the chaotic but cathartic euphoria you feel at a gig or a rave, when you are surrounded by others who are on the exact same frequency as you. Through flailing limbs and frenetic movement, the lead character flits between a packed-out space and one where she’s fully immersed and lost in the music, as the Brighton duo perform the track, the first release from their new album.It's a riotous, full-on visual with a grimy, monochromatic aesthetic, and Rich Woolway's thrilling cut reflects the rowdy atmosphere in the concept.

The Sacred Egg - London-based directing duo Alex Mavor and Ed Kaye - direct a mesmerising, and thought-provoking promo for Depeche Mode. In this incisive, metaphorical short story, couple try to work their way through a communication breakdown in a world where talking in the normal fashion is evidently impossible - and can only be achieved underwater.It's a concept that bounces beautifully off the theme of the track Wagging Tongue, brought to life in a dramatic, and highly cinematic fashion, with gorgeous black and white cinematography by legendary DoP Simon Chaudoir, and consummmate performances from the lead actors, assisted by the use of visual effects in the underwater scenes that add a supernatural, otherworldly angle. Echoing the style of the band's longtime collaborator and creative director Anton Corbijn, the monochromatic colour palette adds to the raw aesthetic, and helps tie the concept to Depeche Mode's considerable videography to date.

Kassandra Powell directs an absorbing comeback promo for Bimini, which shows that you can find glamour in the most unlikely places. The video for Rodeo opens with Bimini on a mechanical bull, shining bright as lights refract from the abundance of reflective monochromatic textures. Quickly bringing the concept back down to Earth, we realise this whole setup is in a typical British pub, and the punters are as about as apathetic to Bimini's performance as they come. But whilst most glare disapprovingly as Bimini continues to do her thing, one character breaks out of their passive state to get absorbed into the otherworldly trance of the music. The contrast of glossy pop concept and stoic public is a brilliant visual dynamic, and DoP Luke Dryden's cinematography captures the perfect balance of these two opposing styles.

Stephen Agnew draws inspiration from Dadaism, Irish Wicca and Catholic iconography in his stunningly photographed video for Amber Arcades.Shot in monochromatic 1:1 aspect ratio, the promo for True Love renders the artist - real name Annelotte de Graaf - as a reimagining of the Celtic deity Bríg.Switching between silvery beach-set exteriors to darkly intimate close-ups, the concept sees an alien consciousness poured into a human mind in an empty desolate world.With cinematography by Martin Senyszak, cut and composited by Agnew and finessed by Toby Tomkins, before a final flair by Jessica Malleau - in the form of creative pitch gylphs - this is a mesmerising showcase for the artist.

Josh Thornton-Allan directs an strikingly art directed performance promo for James Bay's Give Me The Reason. Effortlessly elegant, the video centres on Bay's emotional performance of the song, further elevated by impressive art direction and inspired lighting.The emblematic backdrop of a glowing orange sun provides a canvas for some striking silhouettes, and matches the emotive thematic elements in the lyrics.“I was really interested in the work of Olafur Eliasson, an artist who uses large scale light constructions in his work - particularly monochromatic light,” explains Thornton-Allan. “This seemed like a really unique way to explore the shifting emotionality of a dying relationship."We approached the lighting from a purely practical position, creating a monochromatic lighting setup with our giant sun and then during the chorus filling James with colour using regular, chromatic spotlights.” It is a perfect example of simplicity done right, and a promising comeback for the singer-songwriter, in anticipation of his third studio album.