A sea of disembodied hands grapple with Kesha's face, in Vincent Haycock's striking visualiser for Eat The Acid. The comeback hit is taken from upcoming album Gag Order, and comes equipped with an organic yet entirely surreal one-shot visual, with fingers sliding over the artist's face and inside her mouth, eventually trapping her in a tight link of flesh. The uncomfortable, claustrophobic nature of the video reflects the haunting soundscapes in the track, and makes for a staggering video, which teases a strong concept for the new album.

Samuel Douek continues his collaboration with Yonaka, following the action-packed video for Panic, by directing the first of five visualisers for the Brighton band's forthcoming EP.All the visualisers were conceived as a single body of work, each one stripped back to single setups with stark simple set design. A motion control robotic arm was used to allow Douek and team to seamlessly cut between various chaotic setups as continuous shots.

Philip Watson directs an innovative AI visualiser for the return of the BRIT-nominated DJ/producer Riton. This visual for Sugar is a suitably super-sweet, candy-coated AI experiment, developed by the WMG Global Data Science team in conjunction with Atlantic's Kim Jarrett and Daisy King.This was created using Stable Diffusion - which generates images based off of text descriptions - which was further trained on Riton’s face and moodboards. The team were also able to make the visuals react to the audio using AI, isolating audio individual elements and feeding them back into the animation.“It was a really exciting collaboration between data science and Atlantic’s creative team as we refined the aesthetic together," explains Watson, who headed up the visualiser’s creation.Say hello to your most vibrant dreams and vivid nightmares, as this project seamlessly blends the opposing dream states into one magical aesthetic.

Amitybloc direct a creative visualiser for Lo5ive's Fahrenheit, cleverly shot in a London nightclub. Under coruscating lights on a packed dancefloor, we follow a model through the night from behind, via a Snorricam setup. "The brief was just a track visualiser, but no one watches those and you can't post it on instagram and hope anyone cares," say Amitybloc. "So we pitched an idea that was a bit better as an introduction for an new artist."(Hair designer) Rooibos shaved the head of a model then dyed a new Lo5ive logo to back of it. We took photos and made the artwork. Later that night, we shot the video. A snorricam set up was fixed to the model, the camera fixed to the back of his head, pointed at the logo. We filmed his experience in the club from this perspective."Most people didn't notice despite the massive bright light. Those that did probably just thought someone was doing a stupid TikTok idea. They were half correct. People who were a bit for intoxitated graviated towards the camera, you can see some fun reactions from them too."

Thomas Davis directs a love letter to early computer animation, in his visualiser for Biig Piig. The video opens with the artist putting on a VR headset, and being pulled into a playful, candy-coloured world inhabited by skeletons, teddy bears and uncanny doppelgangers. The vibrant, intentionally rudimentary animation calls back to early Noughties music vids - anyone remember Sweet Like Chocolate by Shanks & Bigfoot? - whilst interweaving contemporary elements at the same time. Marvellous work.

Nicolee Tsin directs a breezy performance visual for Eloise's Enough. A fixed, high-angle camera captures Eloise across several pastel-hued studio setups, as she sings and moves in a mesmerisingly understated manner. The use of shaped lighting adds an extra sense of texture and depth to the concept, creating an alluring aesthetic fit for the pages of a fashion magazine.