Will Wightman's debut music video is finally here and its a jawdropper. It's an outrageous, near-the-knuckle comedy-horror for Irish DJ-producer Tommy Holohan which preys on the sum of our worst, most irrational fears. Recovering obsessive-compulsive Jared is preparing for a date, when he's aware of another presence in his room - a persistently buzzing fly. As Holohan's banging rave track Show Me The Sky kicks in, Jared suffers an OCD relapse, and battle is joined. But there's only ever going to be one winner.Wightman has mined some primordial fears about bodily invasion, and his own experience of the condition of OCD, to deliver a no-holds-barred, anarchic comedy - a nightmarishly cruel version of the climactic scene in Ratatouille, as the sadistic Fly ruthlessly exploits Jared's vulnerabilities to become his gleeful puppet-master.From the excellent performances (Harrison Charles as Jared, George Osman as The Fly), to the zany camerawork, a practical build and old school VFX, plus medical diagrams dotted through a breakneck edit by Nick Armstrong, this is a breathtaking riot of cartoon-style mayhem. But it's also not for the squeamish or fainthearted. Will Wightman has stepped into the territory of wickedly gross-out cartoonish humour that was more common in dance music videos a few years ago - quite a brave thing to do in these days - and arguably gone even further.His first pop video is not only very funny, it's going to stay in your head a long time.

Ben Brook directs a stirring multi-format promo for Notion, featuring vocalist Olivia Rose. The video for Backbone features a mix of live action, photography and motion graphics, tied together in a textural and grungy style. Evoking retrofuturistic, lo-fi vibes with the aesthetic, the pure amount of work that went into the flyers has to be applauded. It was no small feat, as Ben Brook explains..."I was loosely referencing rave/event flyers in the world of dance music and wanted performance to play out on those and in the spaces they’re normally exhibited in," says Brook. "There’s nearly 2000 print-outs in the whole video and much of it was captured over different days as I was building the edit to fit. All captured in camera except the billboards, which I wanted to include as it felt similar to the guerrilla marketing of flyering in the first place."I approached it as a stop-motion so, once I’d done motion graphics and moving designs I pulled each frame to print as a sequence of posters and then we shot everything as stills, where the locations would change or we’d move camera in accordance with where we’d postered."When the camera was locked we were taking down a poster and placing the next in sequence in the same position in order to give the impression the poster was animating in real time."

Director and editor Ben Unwin returns to music videos with a real eye-bleeder for Robert Hampson's cult psych-rock outfit Loop...The visual is for Halo - from the first album by Loop for several decades - channels the halcyon days of psychedelia and acid house with a barrage of imagery, organised by Unwin with relentless intensity. The complex layering of stock footage and old school vision mixing FX never wavers and achieves a mesmerizing quality, which works wonderfully with Loop's droney dance-rock.This sees Unwin returning to his roots: he started his career making visuals for Loop's live performances. What with the image-flashing it may take a certain amount of adjustment before you enter that zone familiar to several generations of serious ravers. But just go for it - unless you suffer from photo-sensitive epilepsy, in which case avoid at all costs. Working with Loop after all these years allowed me to release my inner 70’s acid-head vision mixer."I made my first ever visuals for Robert Hampson so when he got in touch to make a video for Loop's first album and single in 32 years, I was more than excited," says Unwin. "Robert said: 'You know what I like. I want it to be insane and almost impossible to watch.' "Obviously the phase 'Impossible to watch' is the brief that all directors want to hear. And knowing that the band had no desire to appear in the video I started trawling through free stock footage sites and some visual elements that I made for the live shows that Loop performed at the Meltdown and Roadburn festivals."I went back to old school keying and layering, imagining that I was a disillusioned 1960’s acid head working for Top Of The Pops in 1978, whilst pretending my computer was a Grass Valley 100 mixer. After months working on some very corporate pieces to earn money it was hugely refreshing to just delve into experimentation and spend time pressing random buttons to see what effects could be created."The band and their fans seem very happy with the final result and working with Loop again after all these years allowed me to release my inner 1970’s vision mixer. Life sometimes does go full circle."