Elliott Gonzo places Le Junk into an ultraviolent, nightmarish underworld in his video for Level 3. Set in a cruelly surreal version of Fight Club, the cinematic promo kicks off with a thump, and carries that momentum to the grisly final frame. With a suitably grungy location and visceral colour palette, DoP JP Garcia captures a sense of dread and desperation through the cinematography, perfectly encapsulating the minacious concept.

In the fourth of Matt Walker's series of videos for Jme, the independent rap artist reveals the extent of loathing of the music business, in the action-packed and violent video for Pricks.It's set in a corporate record label, where Jme is poised to sign a contract - until he notices a clause which says he is about to sell his own soul, in perpetuity... So he refuses to sign - and then all hell breaks loose.The ensuing tear-up, and his white-knuckle ride in trying to escape from the building, is a perfect accompaniment to Jme's entertaining diatribe.Whether or not you sympathise with all of his sentiments (or the violence), it climaxes in a resounding message - 'Thought my style didn't fit til I stopped listening to all these pricks.' - just as he is about to face his final stand against a group of seriously miffed record company execs. It's a tremendous vehicle for a seriously talented rapper.

A young soldier gives into his bloodthirsty temptations in this hyperviolent video for Russian artist Shortparis.Opening in a vast, clinical space, a group of soldiers are stood in combat formation, overlooked by a handful of stern-faced higher-ups. Initially nervous and isolated from the pack, a young soldier flies into a fit of rage, battering his colleagues and strangling a woman in a hallway. The violence soon ramps up into street fights with bricks and death by hara-kiri. Co-directed by Vlad Fishez and Shortparis himself, this is grisly stuff with its own unhinged momentum, driven by the memorable performance of the lead actor. Highlighting society's role in creating killers, the escalating violence is a sobering depiction of the destructive power we are all capable of wielding.

It's time for Unfair Fight Club in the new video for The Prodigy by Paco Raterta: a young man and woman face ridiculous odds in a two staged battles for an ominous spectator. And that makes for a turbo-charged, relentlessly violent spectacle.It's the second collaboration between Manila-based Raterta and the UK dance legends, following the rip-roaring Need Some1 earlier this year, and this one for Timebomb Zone adds to Raterta's growing reputation as a real talent to watch - one of the best new talents to come into music videos in the last year, and a thrilling action director in any medium.This one, also shot in Manila, also benefits for having a couple of underdogs you can root for - who are nonetheless capable of some eye-wateringly vicious moves. It's not for the squeamish, but The Prodge's ode to mayhem deserves nothing less.

Jodeb's superb video for Jack White's track Corporation is a mesmerising narrative piece, ostensibly a whodunnit-style murder mystery - with Jack as the victim. But then it becomes something even more mysterious. And by the end, it just leaves you with lots more questions.While the detective on the murder case (played by Zooey Deschanel, cast very much against type) interviews the various suspects of the investigation, Jodeb throws out their riveting, strange, and often grimly violent backstories. The whole murder mystery premise develops into something increasingly complicated, metaphorical and supernatural, driven by these fascinating characters and the fast-moving action. As the song builds to its climax so too does the narrative. In a boardroom, Deschanel joins all the suspects - with the victim.Jodeb leaves it to the viewer to decipher the meaning, if not the actual mystery of the crime. It's surreal, symbolic, thought-provoking, and it's brilliantly done.

Jonas Lindstroem & the ever-present Little Homies direct an artful juxtaposition of violence and peace in this latest Kendrick Lamar clip.Feeling like a slower and more meditative version of Kendrick's HUMBLE. video, we're presented with harrowing slow motion violence, gorgeously shot and cut against images of nuns at prayer and a couple in bed. Weighing up the fight itself against the things worth fighting for by using smart cuts between powerful images. An intelligent and incisive video from one of the sharpest minds in rap.

Restless and unrestrained, a young rude boy gets up to no good in Hugo Jenkins's video for Lone's drum & bass track, Blacktail Was Heavy. The video channels an aggressive, relentless energy from beginning to end, gearing up at the start as the young lad - who has been made to come to school for detention - fidgets with his pencil instead of doing his assignment.His first encounter is with the kind of person he will undoubtedly become, a brutal, middle-aged gangster keen on showing him how he beats up victims in the boot of his car. And only a pub fight, a destroyed car and a lapdance later, he's all ready to commit his very own atrocities.

It's been a few years since their last collaboration for Lighting Bolt, but Jake Bugg has paired up again with Michael Holyk for his new single Gimme The Love. And it's an aggressive proposition, with the singer in a large warehouse, surrounded by the menacing buzz of impending brawls about to break out all around him.Bugg stares down the camera, delivering his performance amid flaring strobes and disorientating cuts to various confrontational scenes, channelling a tone of extreme tension and incipient violence - which appears to be in direct contrast to the intent of the lyrics. The singer has commented that he welcomed working with fellow Nottingham native Holyk again, and being more involved in the creative process than on his previous videos. "We came up with the treatment together, which was cool because I was so sick of turning up to video shoots with no idea with what I was doing and having people write ridiculous scripts," says Bugg. "I feel videos can put an interpretation in people’s minds of what the song is about, so with that in mind I wanted a video that left the lyrics open to interpretation."