Following the fierce polemic of The Recap, Finn Keenan reunites with Kneecap for their collaboration with Orbital's Paul Hartnoll - and presents the brilliant Jamie-Lee O'Donnell as the office drone unable to get raving out of her head.With the usual intensity of Kneecap ramped up even further by Hartnoll's beats, in the Sayōnara video Jamie-Lee is disturbed from her office duties by visions of uninhibited nights in clubland - episodes that are increasingly blurring into reality. She's just about keeping it together - even as she starts seeing her suspicious work colleagues in fetishwear.Until it all kicks off: suddenly Jamie-Lee is driving around Belfast in the Kneecap-pimped Land Rover, and finally streams of light from her eyes and mouth - surely a reference to the iconic Kneecap balaclava. This off-the wall comic narrative really works with the track, Jamie-Lee O'Donnell is great, and as with all things Kneecap, the comedy of the raver's existence comes with some serious intent. "The intensity and ominous tone of Sayōnara reminded me of both the best nights out and the brutal days that followed - that’s what sparked the idea," says Finn Keenan. "But I wanted to turn a typical dance video on its head and focus on the aftermath and how the chemicals in your body change as the week progresses. I wanted to capture the visceral intensity of paranoia and intrusive thoughts. Somehow, that 'never again' anxiety of Monday slowly shifts by Friday into a 'Weekend is here. Monday will never happen again!' optimism.Keenan adds that he and the band also wanted to nod to Belfast’s rave history. "In the 90s, raves weren’t just parties, they were acts of resistance, dangerous but vital spaces where Catholics and Protestants came to be together and dance," he explains. "That spirit is what fuels the scene of Jamie Lee driving the pimped-up Kneecap Land Rover across the city - a kind of rave pied piper, spreading the idea that art, music, and creativity can break down the metaphorical walls which are often stronger than the physical ones. Pent-up anger and frustration are released through dance instead of turning into hate."Which is what the ludicrous end of the video is about. I wanted this end scene to be feral! Working with Jamie Lee made this possible. She’s one of the most open, vulnerable and fun people i’ve ever met. Working with her was incredible."We didn't have a choreographer so for the end dance we’d have a chat before each take and then she channeled her own stories and emotions into the performances, each one completely different than the last and each one genuinely left the crew speechless. It was an incredible thing to witness. She’s a powerhouse!"Massive thanks to RiffRaff for their support and to all the incredible cast and crew who created such a lovely vibe on set that meant everyone was comfortable doing some of the most bizarre stuff i’ve had to ask people to do on camera. And of course thank you once again to Kneecap for trusting me with this absolute pile of weird!"

True to their band name and the songtitle, Bad Omens' lead singer Noah Sebastian and filmmaker Nico Poalillo bring us into a dark and forbidding landscape, where Apocalyptic events will unfold, for the Detroit-based heavy metal band's new single Specter. Shot in both Slovenia and Michigan, the video fuses the track’s brooding, heavy sound with ghostly visuals that draw viewers into a dark fantasy world exploring themes of loss and betrayal - intercut with a highly cinematic band performance.The narrative element follows the fate of young boy (Finn Lenter-Foth) following a cataclysmic event and the subsequent emergence through the gloom of a forboding sillhouette, signalling the End of Days. Ryan Hurst (Sons of Anarchy, Remember the Titans) makes a cameo, bringing a chilling presence that adds to the (already considerable) haunting tone of the film.“What began as a wildly ambitious idea quickly evolved into something even bigger - and somehow, even more ambitious.” says Nico, adding that this video, written by Sebastian and Madeline Leary, will be followed by equally impressive visuals to accompany the release of the new Bad Omens album.“Specter is, as we’ve all said, only the beginning. It’s the tip of the spear for where Bad Omens are pushing creatively," he continues. "The project itself is wild, multifaceted, and constantly unfolding. I, along with the teams at Pulse, Division, and STURDY., couldn’t be more proud to be part of this journey as it continues to reveal just how far Bad Omens’ musical vision can expand into the visual world.”

Aerin Moreno directs a dazzling and beautiful promo for Japanese pop star Fuji Kaze, filmed in the South of France. The video for Love Like This unfolds as a dreamscape, exploring moments of connection and friction between Kaze and his love interest. A tense narrative is introduced, finding Kaze caught in some shady dealings, and it all builds to a poignant climax, every bit as emotional as it is cinematic. Moreno's knack for narrative and character work are on full display through the piece while Russ Fraser's cinematography captures the stunning coastal location in saturated, vibrant detail.