Joseph Delaney builds a genuinely creepy atmosphere in his slow-burning gothic chiller for Manchester rock band Witch Fever. Delaney generates an intense sense of foreboding through lead singer Amy's increasingly unhinged performance, in the bare room of a large house, striking editing and in-camera effects. The use of sudden single frame edits in Jed Darlington-Roberts' richly colourful cinematography is particularly unsettling. 'Had so much fun mining my favourite gothic stories, delving into the depths of hysteria and further indulging my pyromania for northern metal coven Witch Fever’s incredible new release The Garden,” says Joseph Delaney."Inspired by the symbol-laden lyrics and emotive push and pull of their new music, we imagined a northern gothic story that treads the line between the supernatural, psychological torment and the blurred line that can exist between them in a mind that’s in the midst of a moment of unhinging - something I’m not all too unfamiliar with…"Thanks to Witch Fever and team for having us, to my team that threw themselves into this (and were possibly latched onto by a sinister spectre along the way) and watch this space for more soon."

Andy Little harnesses the dreamy mood at the heart of prog outfit Moon Machine's heartfelt Happy To Be Here, with dancer Bethany Kyle's increasingly trippy adventure through the countryside, leading to an epic finale.As the track builds, her ribbon-strewn journey takes a surprising turn when she encounters the Moon - apparently fallen to Earth. And ultimately, she climbs a platform to release this realistic facsmile into the sky - the Moon is indeed, a balloon - an appropriately impressive sight, to match the stirring climax of the song.

For a Talking Heads classic - their greatest early song - arrives a new video, delivered by director Mike Mills and actor Saoirse Ronan. And its a remarkable and brilliant thing to behold, addressing one of the most important subjects of all: what goes on between our ears.Saoirse Ronan plays a woman who's mental state is in a constant state of flux. We find this out by following her repeatedly through her daily routine, that often-employed device that's given its own twist here: while the surroundings repeat, her character is never the same twice. We are observing a woman in the hold of her bi-polarity - or multi-polarity. It's an outstanding performance, as one might expect from a screen actor of her quality, but although it arguably looks like it could come from an independent movie that Mills might direct and Ronan star in, here she's delivering a new version of herself in each accelerated day, within a few brief moments.The impact is to take the viewer on their own journey, from observation to understanding to ultimately, relating to the character - all while listening to one of the great punk/post-punk tracks of all. She's out there, but actually, as she navigates her way through the quotidian grind, how different is she from the rest of us?

Legendary outfit Suede return to action with a brooding, shoegaze-infused track and a lean and disruptive performance video directed by Chris Turner, aka Favourite Colour: Black. As the moody opening riffs of Disintegrate dissolve into lush layers of synth, the film explores visual erosion in a similar way: beginning with a clean, high-quality base recording, then gradually degrading it through analogue processes until the image becomes abstract and unrecognisable. The video draws from a rich lineage of visual and aural artworks that meditate on decay and transformation, from William Basinski’s Disintegration Loops to Peter Greenaway’s queasy time-lapse sequences in A Zed & Two Noughts, reinterpreted for a resurgent Suede by Turner and his highly experienced DoP Luke Scully. Like a piece of video art in the vein of Bill Viola, Bruce Nauman, and Marina Abramović, Disintegrate centres on painterly still-lifes - rotting fruit in slow, unsettling time-lapse - and the gradual breakdown of the moving image itself.Key moments of the performance were re-shot through CRT monitors using minDV and VHS cameras inside a blacked-out tent, introducing analogue texture and unpredictability. Cables were physically manipulated to create flickering, rolling glitches — percussive visual elements that echo the sonic violence of performances like Nine Inch Nails’ March of the Pigs.This process has been continued in post production. The assembled edit was re-processed and re-recorded in layers, so what begins as a sharply rendered performance ends as something fragmented, distorted, and haunting: a meditation on impermanence, memory, and the beauty of decay."[This was] pretty much my dream brief," comments Chris Turner, aka FC:B, "Fantastic track by a fantastic band. Black and white, lo-fi, performance-based and with visuals that disintegrate as the video plays out. All achieved in-camera, utilising progressively lower quality equipment, shooting and re-shooting from screens as the signal was increasingly interrupted. Worship the glitch!"