Eoin Glaister reunites with Glass Animals with his first video for the band since 2017 - and takes their band's fans down a complex a complex conspiracy rabbit hole courtesy of YouTuber TinFoilPat.The video is for The Other Side of Paradise, originally released on the How To Be A Human Being album and now revived to celebrate the seventh anniversary of the album - which also featured Pork Soda and Agnes, which have Glaister-directed videos. It features TinFoilPat as a superfan of the band, revealing to his Youtube community about the rumour that lead singer Dave Bayley has been replaced by a clone (or clones). And then follows his mission to uncover 'the truth'.The band were not available to feature in the music video, so Glaister has employed various techniques to build his narrative. Firstly he chose to lean on archive footage from their iconic concert at Red Rocks, and construct a narrative arc that starts with the moment Dave sang “my thunder shook him down” in perfect sync with real-life thunder. Then he sourced further on-stage clips, TikTok cutaways, generative AI, choreography and a mouse-and-cat dynamic, to create a trail of clues for TinFoilPat to uncover.The music video is also sprinkled with subtle Glass Animals fandom trivia and even features real-life moments like TinFoilPat infiltrating the Universal Music London office or calling up the front desk to accuse them of “being in” on the hoax.It felt like a full circle moment, creating promos for the album again.Glaister says that the fact the band were unavailable for the shoot prompted the clone idea. “I'd been watching TikToks with my sisters and was really taken with all the fanfare and conspiracy theories surrounding Avril Lavigne and Britney Spears and I love how ropey all of that evidence is," he explains. "They were vehicles to kick start thinking for this project. [And] the narrative that was constructed with the archive footage means that I could blend facts and fiction in a silly way, which I’m really into.“This is the third job I've done for Glass Animals, which means I've earned some trust with them; it’s useful for running with a really, really bizarre idea like this one. It felt like a full circle moment, creating promos for the album again.”

Katie Lambert captures Georgia on a night out, and caught in 'WhatsApp Hell' in her vibrant video for Some Things You'll Never Know. Georgia is driving around London, hanging out with friends whilst being sucked into a WhatsApp conversation with some guy who is sending mixed messages. The messages are then added to the fabric of Georgia's world, with text encroaching upon on the road, on her car and in different locations across the video.It's cool and conceptual, but it's also about the emotion of Georgia's performance. And the video - DoP'd by director Douglas Bernardt - just looks great.

Is there still space for a revolution in a world dominated by social media? That's the question Alessandro Amaducci poses in this raucous promo for Kris Vanderheyden, aka Insider. The video is a pulsating, hyperactive blend of stock footage and lo-fi effects, which reflects the overwhelming stream of content we experience on a daily basis. As the video builds to a climax, references to revolution are peppered into the mix, suggesting another direction we could move in as a society.The video works on several levels, and there's plenty to dig into here, which makes it an even more fun experience to watch.

Ja Humby explores the lengths some bands will go to for success, in this rip-roaring satire on the modern day music biz for shame. The video for Fingers Of Steel reveals the 'truth' behind the group's hype... it's the work of evil genius front-man Charlie Steen, who has forcefully enlisted his bandmates in a click farm operation generating fake likes and comments on their own social media posts. Steen plays the villainous role to perfection, bare-chested and manic throughout, as self-obsessed as he is demanding, as he bullies his bandmates into submission. And their musical instruments go unplayed as they churn increasingly outlandish comments online. Blending narrative with glitchy animation and a 90's thriller-esque colour scheme, the video is sharp, funny and works really well with the track - remarkably it was apparently turned around in a week - and Steen's hip thrusting will stay in your mind long after watching... It also represents a triumphant reunion between the band and Ja Humby, who worked together on the faux doc and live performance film, Live In The Flesh for the director's Molten Jets project."Conceived and delivered in one week with very little sleep, the frontman was somehow more narcissistic off-camera than he is on it - humping thin air between barrages of punches," claims Humby. "His hips would spasm when he caught himself in the mirror, despite the tantrum-induced snot bubbles no one dared to point out."Huge thank you to everyone involved in this brutally honest depiction of a modern band’s struggle for fame."

Willow Kayne takes on the social media opposition in the most entertaining way possible - courtesy of directing duo Bedroom - in the dazzling video for I Don’t Wanna Know.Bolshy Willow vents her fury on her online haters by launching herself from her own colourful bedroom right into the internet itself, blasting down the information super-highway to cause chaos and confusion - with some darkly comic results. Along the way, this gives Bedroom the opportunity not only to exercise their signature DIY approach to art direction and set design, but also Soren, one half of the team, has created the illustrations and animations that populate Willow's fantastic voyage of hilarious revenge. A wildly imaginative ride indeed.

Petr Simon calls for a self-love revolution in his powerful promo for Danitsa's Let Go. The digital rat race and our social media-obsessed society are examined under an abstract lens, reinterpreted as frenetic dance scenes and surreal, otherworldy set pieces, as the artist isolates herself in nature to try and gather her thoughts. Broadcasting the message that our self worth should not be influenced by our digital perception of others, the concept is a plea for self-validation and staying true to our own character, and is beautifully visualised through a succession of innovative setups. DoP Konstantin Mazov intertwines a nostalgic, almost vintage aesthetic with notable reminders of the modern world, and does so with masterful flair.