Phillip Youmans brings his raw, immersive vision to Fly Anakin, showcasing two tracks by the rapper, and his guest artists.In the video for The Times and Corner Pocket, Youmans transforms a single elevator into a surreal stage, where Fly Anakin begins alone, stuck between floors and caught in a loop of fear, reflection, and acceptance. As new artists enter - Quelle Chris, then BbyMutha, - tension builds, energy shifts and the elevator becomes full of chaos. Captured in a raw, textural way, the video is a blur of paranoia, hallucination and disorienting camerawork, perfectly capturing the energy of the track. Anchored by slick performances and acting, the video is an extended play, running at six minutes in length - but it's well worth becoming caught with Fly in his unpredictable elevator.

Zac Dov Weisel hits the big time with a wonderfully weird and wacky video for the one and only Megan Thee Stallion.The video for Whenever starts with a low rider crashing into a waiting room, spirals into a surreal fever dream—think pool cue barre dancing, chess piece riding, scuba diving, clocks melting... and fish people. The Australian-born director, who first caught attention with work for Rodney Chrome and more recently for a series of videos with Audrey Nuna, including the UKMVA-nominated Cellulite, and Confidence Man's I Can't Lose You, has now graduated to make a huge statement for hip hop's badass queen Megan with a video both hugely assured and off-the-scale bonkers.Megan plays several parts, utterly imperious in all of them - the sizzling, sneering cowgirl, the pliable receptionist, mermaid, chess piece rider, vigourous twerker - within a world of colourful surreal comedy. This is one of her very best videos for sure.

Sergi Fiddes directs an absorbing promo for Sterling Press. The video for Concrete Trampoline follows a battered young professional who, after escaping the boot of his captors car, has to hop his way through an absurd playground of madness, whilst avoiding disgruntled rabbits and a manic photojournalist.With an ambitious one-take structure (in reverse, no less), it's a brilliant executed project with a pensive, almost haunting tone at times. Feeling like it was ripped straight from an awkward, uncanny nightmare, Fiddes creates a frantic, overwhelming atmosphere which gets stranger as time goes on. "With a very quick turnaround from concept to execution lead to the inevitable question: 'why not shoot it all in one take?'. And that's what happened - only we made it slightly harder for ourselves by shooting backwards with reverse speed in post inspired by the great Spike Jonze's The Pharcyde video, Drop."Unfortunately there was no budget to have any rehearsal day to choreograph and block the scene for camera, so we had to plan and shoot it all in the same day and with limited daylight hours, with the sun gods blessing us with some lovely early spring weather to help us get as many takes as possible. Shout out to our one-man-band camera team, DOP Joe Kennedy for operating on the Ronin 4D all day and helping me craft an action sequence that flowed from one scene to the other."Not having a playback operator was an added challenge considering we were shooting in reverse order. Having no immediate access to how the footage looked when played back in reverse resulted with us essentially shooting blind so we essentially went take after take until the cards were full and reviewed the footage with the DIT to see if we got our timings right. Very risky business but it paid off, luckily."Not only was the persistent hopping a literal approach to the song title but it was also a reference to the continuous one take of Bobby Van hopping his way through a suburban community in Small Town Girl (1953). This scene has since been reimagined in other music videos like Peter Wolf's Come As You Are and Goldfrapp's Happiness, so we're glad we're able to contribute to the growing list of tributes. However, unlike these references, we wanted to strip away any of the faux jolliness and instead inject a dirtier, grungier tone that aligns more to the spirit of the song."Shout out to the whole team for their hard work and limitless patience, our wonderful protagonist Hamish Frew who skillfully captured the horror whilst having to act backwards, and the one and only Michael Le Cirq (KidCircus) for inflicting the horror!"

Jesse Alston directs an atmospheric and intense promo for London-based singer-songwriter HALINA. The video for Flesh Like War is an enigmatic vision, exploring isolation and the feeling of being an outsider. Chaos ensues, fire burns, life moves, whilst HALINA watches on.Employing low frame rates, quick cuts and distorted visuals to intensify her isolation, Alston's debut video is an exercise in tension and mystery, which works perfectly for the track.