Eleanor Grace Hann directs a moody and atmospheric promo for D Double E's collaboration with Hamzaa - a distorted mix of performance, choreography and conceptual setups, coming together to explore the themes in the track.Within a largly dark space, illuminated with shafts of light, the video for Lifeline tantalysingly flitters between its performers and two dancers who represent the characters mentioned in the song, the challenges faced by young people in society and the difficulty of breaking cycles without guidance. With unsettlingly fast editing which also reflects the song's subject, this is a strongly artistic meditation by director Eleanor Grace Hann on the world we live in - and how experience provides its own perspective. That becomes clear at the four individuals gather at the end and its evident the youngsters could be the artists' younger selves.

Hugh Mulhern directs a visual assault on the senses for Hak Baker's fierce anti-tech anthem Telephones 4 Eyes. Mulhern's video is a mesmerising clash of live action, animation, stock footage and VFX, smashed together in a frantic, hypnotic fashion - with a little help from AI. In the song, Baker is lamenting the state of the society we live in today, and the video matches the lyrical content of the aggrieved track, and the deluge of visual iconography matches the neverending stream of content we consume on a day-to-day basis.And in a real change from his excellent back catalogue of music videos, the most you see of Hak Baker is his mouth appearing from a tear in a man's stomach. You won't not be looking at men's torsos in the same way in the near future. Taking advantage of trends whilst completely flipping them on their heads, Mulhern has created something singular and visionary, which not only brilliantly reflects the times we are living in, but also a project that is impossible to tear you eyes away from. "If I told you I had an initial rationale for everything in the video and it was all carefully figured out, I’d be lying," admits Mulhern. "In truth it was one of those ideas that came together almost instantaneously. I think that’s to do with how clear Hak’s ideas are in the song. Tetsuo the Iron Man was a key image, and I also think the inside of [the song’s producer] Dan Carey’s studio played a part in inspiring our phone thief’s lab. HR Giger meets Abe’s Odyssey circa this weird stop motion cartoon called Mr Bumpy."We spent hours figuring out what found footage felt right and was obscure enough to feed the sensation of over stimulation. We intentionally wanted to steer away from doing anything that felt too political or pointed when the song was carrying that message so effectively."Things went off the deep end in the final few days of the video. We sent some stuff over to Dom (infinite.vibes) to create AI sequences stylistically informed by the stop motion animation and what he sent back far exceeded my expectations. It’s my favourite thing I’ve made to date and all I wanna do now is expand on the techniques we experimented with.”

Bjorn Franklin and Johnny Marchetta direct a stirring promo for Henry Jamison's Make It Out, featuring Maisie Peters. In the midst of a volatile riot, two opposing sides find a moment of calm, which allows them to connect on a human level. As ever with the directing duo's work, this is beautifully shot, while the concept is universally relatable and thought-provoking - especially in a society as strained as the one we live in right now."Why can’t we just hug it out instead of fighting? We loved the idea of taking a high octane hostile environment and slowing it right down finding a beautiful moment where it’s not meant to be," explain the directors. "Maybe they might just make it out, maybe not but there is certainly hope in there somewhere."