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."

James Slater completes his excellent series of videos for Leeds band Yard Act's first album The Overload with a superb valedictory effort for the album's final track 100% Endurance - starring iconic actor David Thewlis.Thewlis wakes up on a street bench, finding himself on a suburban housing estate, surrounded by its residents. They are familiar faces to anyone who has watched the previous Yard Act videos, as most have appeared in one or more, playing the characters that populate the 'Yard Act universe' - created by the band's frontman, James Smith. Smith has played some characters himself in the preceding videos - a dodgy magician (in Land Of The Blind), a slippery estate agent (in Payday), and obnoxious club owner Graham (in The Overload). But in 100% Endurance, Thewlis plays Smith, more or less. Appropriately he takes over lipsync duties for the album's least abrasive, most philosophical song, as a world-weary but wise figure wondering among his fellow housing estate inhabitants.James Slater then delivers an additional delicious curveball. Suddenly, a giant hand drops down into the scene - David Thewlis's. It picks up what turns out to be a tiny figurine of himself (or is it Smith?), from a miniature model version of the housing estate. It's a sudden, comic twist that resonates with the overriding theme of the song: 'what's it all about, anyway?...'[Thewlis] really bought into it all and delivered a brilliant performance, tying the whole thing together."Prior to shooting 100% Endurance, I'd already been lucky enough to shoot four videos from The Overload," confirms Slater. "It's given us the opportunity to create our own Yard Act cinematic universe, with characters and themes recurring across all the films. With this video we wanted to wrap everything up. "I thought we should have a go at answering (that question) by revealing that the universe (well, the Yard Act universe at least) is in fact a miniature model set, kept atop Thewlis' spare room. "James and David had been chatting for a while, as it turned out he was a big fan of the band. He let us know he'd be up for doing a video and thankfully liked the idea. We shot it in his native Blackpool. He really bought into it all and delivered a brilliant performance, tying the whole thing together. I think he'll go far!"It's testament to James Slater and his vision for bringing our songs to life every time.James Smith adds that his experience of making this video was a combination of enjoyment and disbelief. “It was great shooting this video," he says. "I barely had to do anything, and I didn’t have fake facial hair glued to [my] head for once."I still can’t believe David got involved. I was such a fan of his work from Naked through to Fargo, and when I told James Slater he was interested in working with us, he was so buzzing. A brilliant actor, and an absolute joy to watch work. Equally so, he is a thoroughly decent, down-to-earth person who is funny as fuck, and that goes a fair way I reckon."Smith also pays tribute to Slater's work across five videos for The Overload. “This video also stands as testament, once more, to James Slater and his vision for bringing our songs to life every time," he says. "I always knew we would revisit the world one last time to bring the whole concept of the album full circle, and I knew the final video would be for 100% Endurance. But once the album came out and touring kicked in, I never knew when we would find the time. Finally we did, and getting all the cast of characters back together felt lovely too."We’ve met so many ace people making these videos and the more you meet them, the easier it is. Bless everyone who was on board throughout. If no one figures it out in the next five years, I’ll do a thorough breakdown of all the videos with every reference, easter egg and narrative hint we stuck in there.”

Jim Pilling directs a marvellous, timeless black and white visual for Samm Henshaw’s emotive Joy.Shot across stunning locations in the Peak District on 16mm by DoP Rik Burnell, it's the fourth instalment of the series of films created by Pilling and Henshaw - and all shot by Burnell - in association with Henshaw's latest album Untidy Soul, featuring Henshaw as his alter-ego 'Sonny'.From the first episode, Still Broke, Sonny's story has moved backwards chronologically. But for Joy, we join him in the present day. And he is on an introspective journey, as he’s driven through some stunning Derbyshire scenery, before leaving his car to continue his journey alone.There’s a lot of subtext there for people to interpret."I wanted the video to feel timeless in the same way the sentiments in the track are," explains Pilling. "For me it was about creating frames full of feeling and giving them space to breathe to let the viewer spend some time in each moment."There’s a lot of subtext there for people to interpret - in what we see and what we don’t see - and I think this slow place lets that play out in the minds of the viewer as they watch it. Samm’s a great storyteller, and this track is a really good example of that. So it was an ideal starting point to develop the visual from.”