Ben Ib returns to music videos with a videogame-style promo that reflects real world events to chilling effect for veteran rocker Bryan Adams. The project follows the director and artist's collaboration on What If There Were No Sides At All, which utilised Unreal Engine to place Bryan inside the war-torn locations of Ukraine and Gaza. The video for War Machine - Adams' take on the KISS's classic, which he actually originally wrote - takes a similarly ambitious direction, following a group of soldiers as they enter a destroyed city while air crew above continue their missile bombardment - and the suits behind the operation.Ib treads a fine line between the anti-war message of the song and the impressive rendering of modern warfare, created in CG animation, merged with elements of live action - and notably casts Adams in the role of warmongering President, who finally gets his comeuppance."I was stoked when Bryan approached me to put some visual chaos and destruction to his original demo version of this heavy metal classic," explains Ben Ib. "We developed a Dr Strangelove-esque spin on the whole thing, honing in on the sheer stupidity of today's hi-tech wars. So the whole game engine look was perfect for where it was heading."The video was shot on green screen in Bryan’s London studio. Everyone pitched in during the shoot and we all had a blast- Look out for me and (styling assistant) Flossie's cameo roles as CIA operatives!"Ben Ib himself handled all elements of post production - CG animation, editing, keying and grading - in Unreal Engine. He also roughed out the sound, which was then put together by Hayden Watson."It was great to work with Bryan on this one and he was incredibly patient and encouraging with the lengthy process of the CG production -ie. me in a dark room for three months," he says. "Whilst I handled traditional director duties it was truly a collaborative effort. We had built up a great working relationship during the 'No Sides' video. So we had loads of fun exchanging ideas over the months as the concept took shape. Hopefully he’s happy with the result!"

JADE launches her post-Little Mix solo career with a jawdropping video directed by Aube Perrie.It's safe to say that Perrie's video for Angel Of My Dreams is one of the most memorable reinventions in modern memory. Jade Thirwell takes on different characters - or different versions of herself - each at different points on the ladder of pop star fame, in an imaginative, biting and often bizarre satire on the music biz. There's plenty for the fans to unwrap on this one.The overarching concept loosely follows the lyrics of the track - a love/hate message to the music industry as a whole, and the various challenges JADE has faced to get to this point. And in true Aube Perrie style, this becomes super-heightened and hyperreal in the video, crammed with detail, embracing chaos and even the grotesque. And there is a memorably monstrous Bad Guy. From busking on the streets through to a mega-diva and everything in between, JADE's intriguingly disrupts her previous pop image. There's even some real home video footage mixed in for good measure - which provides a counter to the darker side of fame, which becomes the predominant theme of the video. In fact this remarkable work also declines to resolve in a neat, happy ending - another reason why it's a milestone achievement for both artist and director. Mesmerising work.And the sharp-eyed (and the in-the-know) should be able to spot the link between this and Perrie's video for Fontaines D.C.'s Starburster earlier this year.

Perrie Edwards continues her post-Little Mix renaissance with a visually striking video directed by Quentin Jones. The complex, 1970s-influenced visual world created for Tears captures the raw emotion and vulnerability of the song, blending an ultra-glamorous nostalgic world with an enchanting performance by Perrie.Jones brings Perrie's heartfelt lyrics to life through a bold combination of elements, including innovative animation, graphics, and intimate live-action shots. That creates a mesmerizing backdrop for the singer's soulful performance.The video for Tears follows the acclaimed work by the SMUGGLER-signed director for Diet Coke featuring Kate Moss. "Perrie's initial brief for her video was to think about building a surreal world for the song to live in," she says. "And of course this is exactly what I love doing, so the ideas started flowing easily."What was really cool about Perrie and her team was that they fully trusted the vision even when it was hard to explain with words. And the even cooler thing about the project was there was room for creative exploration in the post stage, which takes a lot of trust from the label and artist's perspective, but allows me to do my best work."We lent into a reimagined version of the 70's, with glittering psychedelic rabbit holes, infinite pools of dancers, and a very colourful base street world to anchor it all. I fully animate and create the worlds that my videos live in, and it's a very intricate and layered process."Half of it comes down to careful planning and great production. Then the real magic comes from having all the pieces to the puzzle but being given creative freedom to use them in wild and weird ways, and some of this can't be planned at all."I am excited to share this piece, and show that the way I work can segue between reality and fantasy, and there isn't much that cannot work within these zones."

A woman is disturbed in her home by a strange presence in Sam Brewster's wonderfully crafted film for Echolalia, an instrumental track by The Duke Of Zuke - aka London-based composer, Clint Trofa.A repetitive, gnawing mantra of radio chatter prevents a woman from sleeping, audible anxieties manifest. She investigates and is stunned to see a spirit watching her.Strangely unafraid, the woman follows the spirit, who inspects her abode as if it were a prospective tenant. She feels drawn to the spirit, as if it were a missing part of her...