Tash Tung directs an impressive live film for the four songs on singer-songwriter Dodie's new EP. Each track comes complete with a visual standalone, embracing its own emotional journey and themes. Simultaneously evolving into the full film, Dodie's performance blends with the mesmerising dance choreography, experimenting with ideas of connectivity and privacy.The punchy dichotomy of light versus dark spills into the art direction and cinematography, without detracting from the intimacy of the performance. The whole piece is bookended by the artist performing alone, and the journey in between is beautifully conceptualised and executed, and matches the lilting nature of the tracks. Beautiful work.

Suede have launched their latest album Autofiction with a short film to feature two of its singles - She Still Leads Me On and 15 Again - written and directed by Katie Lambert.The film is the story of a couple, Hannah and Chris. Hannah is ready to settle down and start a family; Chris far more inclined to retain their independence. Can they reconcile these conflicting impulses?Lambert's short film directing debut is impressive, with engaging performances by by Hannah Higton and Noah Granville, with outstanding cinematography by Adam Barnett. "It's about that moment in a relationship when it’s crunch time," says Lambert. "The moment when you’re at a certain age and forever feels incredibly close. When you’re not sure if you’re with the one, or if you could find another one, or if that’s a crap societal construction anyway."

Charlie Sarsfield continues his collaboration with Mabel with a lavish 35 minute 'album experience' - including live performances from her hit new album About Last Night.This tour de force of creativity boasts a whirlwind of luxurious vignettes, soaked in golden light and dripping with opulent styling. Shot at the Waldorf Hotel in London, the film takes viewers on a dynamic journey mixing choreography and behind the scenes moments with live recordings of her new tracks.Taking inspiration from the sumptuous interior of the hotel as well as Hollywood icons such as Marilyn Monroe, the film has a rich filmic aesthetic, and was commissioned by Amazon Music to build anticipation around the album release and give fans exclusive access to Mabel's new music.Mabel's presence feels fresh and well-rounded throughout, and the contrast between full performance and understated movement highlights her multifaceted talent.

Jean-Vital Joliat has directed a moving film - part-documentary, part-music video - that tells the story of the Innu-Aimun, indigenous people from the Cote Nord part of Quebec, told largely through the testimony of an indominatable female elder.The first half of the film has her recalling forced assimilation into Western ways - and worse - as a child at a Catholic residential school in the village of Meliotenam in the 1940s. The second half focusses upon the music - the band Matiu performing Tipatshimushtunan - against footage of daily life in the village and surroundings, beautifully captured by Joliat, and DoP Graham Gs, and the efforts of local people to reclaim their own culture.But as Joliat makes clear in the text that punctuates the film, this is just one example of a much bigger, under-reported story in Canadian history. "'Tipatshimushtunan' means 'tell us' in Innu-Aimun," he explains. "Through this song, that speaks about the cultural genocide experienced by the native people, amongst other things, I wanted to create a hybrid documentary and music video project, where the word, testimony, and a part of history, would be at the very heart of the artistic process."I also wanted to bring a story to light that is neither well known in Canada, nor around the world, in order to raise awareness. My intention was to do something beautiful and raw, almost improvised, to capture the beauty of this native community in an honest way. Innu means 'human being' and this project is essentially based on this term."

KC Locke taps into the mystique of masked rapper M Huncho, referencing fantasy stories and cinema in an imaginative fashion, in the latest edition of Apple Music Agenda Live series.On Doomsday, Huncho explicitly references the late MF Doom, from whom he has inherited his masked persona, and who was himself inspired by Marvel super-villain Doctor Doom. So Locke provides Huncho with his own superhero origin story in a movie-like setting - a huge cave, set in a mountain peak. His very own Fortress of Solitude, in order to reflect on his life."I was very excited to work on this project, especially as it was my second Agenda Live visual," he says. "I felt like I had to approach it completely differently than I did the first time, while also staying true to the DNA of the Agenda series."I wanted to push the boundaries and make something very different that co-existed between the Apple Agenda series and M Huncho’s Chasing Euphoria album in my own KC Locke way!I wanted to reveal who is the mind behind the mask..."For this video I really wanted to tap into Huncho’s identity, something he’s always been very elusive [about]. I wanted to reveal who is the mind behind the mask in a way which is respectful to his legacy, but gives the audience an introspective vision they haven’t seen before."It opens on Huncho’s wise words and life lessons as a spoken-word piece, before transitioning in a dreamlike manner [to reveal] an experimental performance inside a huge underground cave network - where we find Huncho searching for his euphoria!"I drew references from fantasy worlds while conceptualizing this visual to really build on the mystique of the M Huncho universe and origin story. I like to place the artists I work with into their own universes as if they were characters in their own origin films."

Following her music videos for All The Good Times and title track Big Time, Kimberly Stuckwisch's short film to accompany Angel Olsen's new album tells the whole story - and features a dynamic performance from the singer-songwriter.The storyline for the short film - also called Big Time - was inspired by a dream Olsen had about time travel shortly after her mother's death. The videos for All The Good Times and Big Time are accommodated within its structure, with their contrasting styles brought together into a coherent whole.As Olsen's attempt at escape a failing relationship via a road trip hits the buffers, she descends to the dreamworld of a bar where time travel is possible, and time itself is fluid. The linking device is a lightbox she carries around with her. It then becomes the focal point in the third part of the film, for the song Through The Fire.The piece is punctuated throughout by phone conversations and recordings - including a real answerphone message from Olsen's late mother. It's a device through which the director and artist articulate the weight of life's most important relationships. And not for the first time, Angel Olsen carries these emotional issues with a compelling screen performance. She is not only an excellent singer-songwriter - and these three songs are powerful - but also a proper actor. "When I approached Kimberly Stuckwisch about making these videos, I thought it would be cool to include the storyline of one of the dreams I’d had, and really use it as a way to tell the story of the songs," Olsen explains. "Kimberly added dialogue and events to create a story arc around my dream, to give it a thicker plot, using the music videos within and creating a larger film."The themes of love, loss and processing one's past are aspects that really appealed to Stuckwisch in the preparation and making of the film. "It's a story that targets deep-rooted complexities," says Stuckwisch. "Such as how our unconscious deals with repressed sexual identity, the hardships of letting go of our past selves in order to step into self-actualization, and the guilt we hold when dealing with loss."For one reason or another, we all have parts of ourselves that we struggle to forgive as well as a part of ourselves we are afraid of exploring or that we think society won’t like—so we push those parts down into our unconscious psyches, into the shadows. This is the story of drowning in those fears before releasing your light."

Rosalía performs a groundbreaking live presentation of her new album Motomami - bending Tik Tok to her will in the process - in a brilliant longform created specially for the app, directed by STILLZ, Ferran Echegaray and Rosalía, in association with CANADA.There are extended performances pieces from each track of the album, with uniquely designed staging and choreography applied to each while occupying the same huge studio space. Most crucially, this project is not hampered by the aspect ratio-related limitations of Tik Tok.The content is specifically created to be viewed on mobile devices, and is meant to be held with two hands. That will prevent you from dropping that device when the camera moves to another shape - as it does throughout the film.When its vertical, it could be horizontal or upside down. But in fact, the camera (or cameras) are themselves usually moving, rotating, changing the angle and view of the ever-compelling Rosalía - who is indeed performing live.The piece represents a continuation of CANADA's close relationship with Rosalía, after the music videos for De Plata, directed by MANSON, and her breakthrough hits Malamente and Pienso En Tu Mirá, filmed by Nicolás Méndez aka CANADA, as well as the Grammy’s Best Music Video-winning TKN, featuring Travis Scott, also directed by Méndez.

Balan Evans directs an impressive double feature of live performances for Paolo Nutini, for tracks for the long-awaited new album. The first of the two films - for Lose It - is an enigmatic, red-hued performance piece, packed full of vigorous energy and frenetic camerawork, perfectly complementing the commanding track.The second of the films - for Through The Echoes - has a vintage, nostalgic feel to it, and whilst the overall vibe is more relaxed, the performance is equally as compelling. DoP Adam Barnett handles the contrast of the two videos perfectly, giving them each a distinctive style whilst leaving enough of a similarity to anchor the connection.Echoing Nutini's celebrated Abbey Road Live Session eight years ago, this splendid double feature of live videos is a terrific way to reintroduce the world to one of the UK's most celebrated artists.I will never forget those intimate performances we all witnessed. "This was an incredibly daunting job," says Evans. "Those previous Abbey Road Sessions have been such an inspiration to me, and in truth, I am just a big fan of his music. It felt like a lot of creative responsibility to make something that reflected the integrity of the songs and Paolo as a performer. It was a long process, but I think all the better for it."Paolo and I got to meet and discuss ideas, develop them and build a rapport before shooting, something that so rarely happens. We had a lot of fun, the audio and visual teams really came together, [and] I will never forget those intimate performances we all witnessed. Truly special."