Santi self-directs a frosty lo-fi promo for his new track Beautiful Nothing, featuring Gus Dapperton. The concept is a mesmerising clash of VHS-aesthetic vignettes and dreamlike animation, presented through a maximalist, Y2K lens. Overlaid with distorted textures and retrofuturistic graphics, the video is a hypnotic experience to watch, with brilliant creative direction from Anton Reva.

Owain E. Morgan creates a nostalgic throwback promo for Pinty and his self-titled new track. "This track is Pinty's theme tune, so I treated it a bit like a TV intro for the snazzy, blue-suited MC," says Morgan. "We took visual cues from Sensual Seduction and Park Life, but added some bombastic typography and animation into the mix to further bring Pinty’s oh so playful personality to the forefront." The resulting video is a clash of VHS textures, multiformat animation and lo-fi greenscreen fun, which perfectly suits the artist's dynamic style.

Peter Haueis celebrates the early days of rave culture in a way that resonates with current times in the nostalgic promo for DJ Durbin. We live in strange times, where clubbing has now been everything from a health risk to something completely criminal. DJ Durbin and director Peter Haueis considered the questions: How can a club track be situated in the midst of a pandemic?Haueis found his answers in the atmosphere of the abandoned and rainy Port of Hamburg, which he aestheticizes with Nineties rave tristesse to convey the rollercoaster of emotions that has accompanied clubbers in recent months.“I knew the video had to be raw and impulsive," Haueis noted. "I came across excerpts from Rainald Götz's book Rave from 1998. Some aspects reflected exactly the feelings that, for me, made up the track in the course of a club night. It's about losing oneself in a free world of the underground, deep in the bass. It's about that moment, when you think you can dissolve yourself into the pulses of the strobe.”DJ Durbin agrees. “I wanted to raise a playful club bomb that constantly twists and turns and yet somehow holds together.” The resulting visual is soaked in a '90s VHS aesthetic, and has an anachronistic vibe which bridges the gap between the present day and the origins of rave culture.

James Bay keeps watch over an old-school high street video shop, where he reminisces about a past love, in Jake Jelicich's absorbing video for Alesso & Marshmello's Chasing Stars. As Bay plays 90s and 00s VHS tapes on analogue TVs dotted around his cosy store, Jelicich switches between the warmth of the singer's performance and glitchy tape footage, replaying transitionary memories of time gone by. It works really well in creating a sentimental and nostalgic sensibility around the song.Then as light is revealed behind the VHS shelves, Bay eventually breaks free of the four walls of the store, and suddenly he is on a beach with his old love. It's all made possible by Jelicich and his team having custom-built the video store, with terrific attention to detail for memorabilia of the period, in a studio. Then they headed for Margate to shoot that crucial end sequence.With a winning performance from James Bay, the video fittingly pays homage to a wide array of 90s/00s films, including Empire Records, Eternal Sunshine of the Spotless Mind, Interstellar and The Ring. Above all, Jelicich has paid homage to the late, lamented video store itself - and done a really splendid job.

Elliot Simpson pays homage to Kennington in South London, in his dynamic promo for Sam Wise's The Sandman, featuring BlazeYL. Jumping between unique performance vignettes - both shot and directed by Simpson - and lo-fi VHS B-roll, the video paints an authentic picture of the district, whilst showcasing the artists in a fun and celebratory fashion.

BAFTA-winning Mark Jenkin collaborates for the second time with Flyte, with the beautifully-crafted video for Losing You. Interweaving striking Bolex footage - which looks like it has been sourced directly from a movie from the 1940s or '50s - and degraded VHS performance shots, the concept is a multilayered narrative which unwraps across the course of the video. In the main narrative, a man is following a past love across fields and forests, trying to catch up but eventually realising they aren't in the same time or space. The enigmatic themes play out through clever editing and composition, matching eyelines and locations to blur the lines between what's real and what is not. And Jenkin's cinematography is stunning. The performance section by the band was shot socially-distanced over lockdown, distorted and manipulated to represent a home movie. Standing at different points on a staircase, the shots also interact with the main narrative, in a sequence of glances and snapshots of emotion, effortlessly coming together to form a complex whole.

Neron Power documents East London with a distorted VHS aesthetic in the video for Every Other Day. The concept employs a monchrome colour palette, with the addition of a minacious red -both within the lighting and as a border layered on the entire visual- acting as a frame for the on-screen action. Jimmy towers above the streets below as he performs, whilst the frenzied cinematography captures a blink-and-you'll-miss-it sequence of establishing shots and contorted alternate angles.

Shot in Madrid under lockdown restrictions, Juan Gama De Cossío has directed a nostalgic lo-fi visual for Luichi Boy's Yo Por Ti, Tú Por Mi.Intercutting simple performance setups with creatively art-directed cutaways, the video is a testament to being creative under unusual conditions, whilst still capturing the vibe and energy of the track.