Sam Bailey returns to music videos with this joyful love letter to the Golden Age of film musicals, in his new promo for Metronomy. The band are seen adorned in giant flower headpieces, playing their song Love Factory, while being led by a conductor, and as a vivacious dancer, Majella Fitzgerald, takes centre stage. Majella is the busy Bee, who picks out each Metronomy 'flower', one by one, to 'pollinate' them. And this happens in a splendidly suggestive representation of Nature - choreographed by Supple Nam. From there, the concept launches into full, Golden Age musical mode, as the Bee interacts with each flower, around the stately house that provides the venue of the video, viewing each member through her trippy, multi-imaged 'bee vision.' It's an extremely skilled display of lightly frothy entertainment, that is also clever and subtly alternative in its joie de vivre. In other words, it's very Metronomy.The initial idea came from watching bees hopping from bud to bud on a rosemary bush."From start to finish this music video was huge lumps of fun to make," says Sam Bailey. "The initial idea came from watching bees hopping from bud to bud on a rosemary bush in my garden, indiscriminately having sweet little intimate interactions before moving onto the next one."The flowers became happy little dance partners to the bee as it moved around from station to station, as if on a factory floor. It married up perfectly with Joe's lyrics and the uplifting feel of the track's hazy tone. I was thrilled that the band went for it."Knowing that they often get really involved in the performance side I thought we should challenge them to learn some sweet moves from choreographer Supple Nam, who has a great history of bringing theatricality and levity to his dances. Just look at his work on the Miike Snow promo [for Genghis Khan] by Ninian Doff."Our performers, Majella Fitzgerald and Andrew Lyle-Pinnock [the conductor] come from big tap backgrounds. So we had a lot of fun playing with moves from musicals of 50s Hollywood (White Christmas, Singin’ In The Rain, Let’s Dance...) God, it’s joyful watching dancers move around, exploring ideas, paying homage to Vera Ellen and co. Especially when they’ve got big ol’ Hollywood smiles on. The genre calls for constant smiling, but if I could dance as effortlessly as them (and without wheezing) I’d be smiling too.We had a ball trying to emulate this era of filmmaking... hard lighting, bright colours and really bumpy camera movements."All of us behind the camera had a ball trying to emulate this era of filmmaking too. DoP David Wright had all the good ideas on how to capture this. Hard lighting, bright colours and really bumpy camera movements. Apologies to our grip Anthony - I made him loosen up all the tracks every time he’d painstakingly smoothed everything out. I think it looks good though - if you watch some of the tracking shots in Singin’ In The Rain they feel like the camera is being driven round on an ASDA trolley. "The band were unexhaustible. 48 hours before shooting this they had spent a day flying in harnesses for the excellent Right On Time promo by Juliet Casella and Thibaut Ceasar. So they must be awarded with some sort of endurance award. Especially since they aren’t smokers and I had them vaping (nothing toxic) for the pollination shot plates. "I have nothing but thanks to them for trusting the idea and getting stuck in. Same goes for the rest of the team who worked very hard to get this all going six floors up in a central London building with an unapologetically small lift."

Kasabian return with an intriguing dive into the possiblities of Artificial Intelligence-driven animation, working with Rawtape - aka Rory A Wood - to reimagine a band performance of Scriptvre, the first release from the upcoming new album.As we have seen with visuals such as Xander Steenbrugge's recent video for Max Cooper, it will be fascinating to see where we are heading with AI-manipulated imagery. In this case, Kasabian and Rawtape have dipped into the new box of tricks to enhance Kasabian's existing iconography.Certainly looks like there has been some judicious use of the 'Francis Bacon' setting.

Aube Perrie celebrates self-exploration, letting go and breaking away from the constraints and pressures of life in his jaw-dropping promo for Angèle's Libre. The video is the second collaboration between the Belgian singer and French director - after the video for stylish and satirical La Thune - and sees Angèle imagining herself wondering the streets of New York, as an astronaut and superheroine after eating a slice of magic pizza.The whimsical promo is a high concept feat which melds visual effects and a playful, intimate performance, and marks a step into bigger budget fare for the UKMVA award-winning director. It’s really a story about empowerment, to cope with the swirling penises of the world. “So you’re enjoying a holiday in New York, and there is a bus passing by," says Aube Perrie, beginning an explanation of the video. "There's an ad on this bus with your face on it…well, because it’s your album promo, so is this music video. But then, there is a penis drawn on that ad - just like with Carrie Bradshaw years ago - and this penis on your face makes you want to be as far away as possible from the tons of unasked-for swirling penises of the world."So, you go on the moon cause that’s pretty far enough. But it’s not like, the moon, it’s more like a John Dorian from Scrubs moment having a classic daydream of his. So it’s more of the moon coming to earth, shaping an alternative environment around you."So now that you’re over there, you hang out and enjoy the holiday, grab a pizza slice, enjoy the awesome low-gravity, throw up because of it (and the bad pizza)."But, somehow, low gravity also makes you discover a new power-gifted persona deep inside your inner-self. You can now face anything. You finally come back to earth as a not giving a single fuck super version of yourself, ready to kick ass. So, it’s really a story about empowerment, to cope with the swirling penises of the world. And it involved a lot of moon dust.”

Iacopo Carapelli directs an arresting promo for Italian composer and musician Caterina Barbieri.Created in collaboration with artist Ruben Spini, Broken Melody is visually portrayed through slow-motion footage of different bodies levitating, intertwining and restlessly lying on the ground, in vignettes beautifully captured by DoP Giuseppe Favale.The video boasts fascinating locations, which are equally intimate and monumental, and lend a certain surreality to the concept. Broken Melody stands as a reflection of our times, in which the beautiful and the dreadful effortlessly coexist.

Locky chronicles the course of a love affair with great delicacy in this visual for Irish producer Boku's instrumental track Lacuna. The video examines a relationship over period of time, exploring the highs and lows of their connection, using different media, and the way in which initial passion, and then love itself fades.As things fall apart, the director introduces a striking visual device to drive home the poignancy of the story - the image itself catches alight, burning slowly away, taking the parting couple with it. "We wanted to make a film that really showcased the realities and mundanities of a stagnant relationship, juxtaposed against the energy and romance of the ‘honeymoon period’," says Locky. "This film is them looking back on their relationship: the good and the bad... Either way, eventually, time takes its toll and the memories dissipate."

Grammy-nominated director Paul Dugdale, best known for his brilliant work in live concert filmmaking, steps into music videos to herald the return of Liam Gallagher, performing with his live band on the roof of the iconic Midland Hotel in Manchester.Dugdale's video emphasises the optimism of Better Days by adding visual effects, layered into the skyline behind the band, elevating that sense of optimism within the lyrics and creating a feeling of psychedelic euphoria. It also taps into Gallagher's love of all things Beatles-related, from the track itself referencing the Fab Four's groundbreaking Tomorrow Never Knows, while the video is almost certainly tipping a hat to The Beatles' final live performance, on the roof of their Savile Row building - filmed by Michael Lindsay-Hogg in 1969, recently restored by Peter Jackson for his remarkable documentary Get Back. The uplifting track is the latest release from Gallagher’s upcoming third solo album, C’mon You Know, to be released next month. All UK proceeds from Better Days will be donated to War Child for the rest of this year.