Ricky Gausis

Albert Hammond Jr "Muted Beatings" (Fraser RIGG, dir.)

Step through the door with Albert Hammond Jr. and actress Portia Doubleday in this beautifully dreamlike exploration of love and life and loss directed by Fraser RIGG.

Albert Hammond Jr: "I followed Fraser into the abyss. He had a real vision he expressed by saying 'Love is the one thing that transcends time and space.' I felt like he was moved by the song and knew how to capture it visually.  I understood what he meant but to me the love didn’t represent human connection. I knew It would be the most universal way to show it visually but I found myself realizing the cycle of who I was and what I was about to become, with the death of my old self and the birth of this new person, was what transcended time and space. That love for life, that lust for life is forever reshaping itself."

ORA "Farewell" (Thibault Debaveye, dir.)

Dark soil slowly lifts off of ORA's body in an ethereal dance, to be replaced by a milky whiteness that is no less disturbingly compelling. The final frame reveals a nude ORA on a pure white background, finally coming out of the Womb.

Norwegian singer/songwriter Ora reveals herself to the world with the music video for Farewell from her debut EP Womb. The word Ora translates to mean ‘time’ in Italian. “It’s something floating and eternal,” she explains, “a form of connection not related to identity - which reflects a lot in the visuals.” 

 

Metronomy "Boy Racers" (David Wilson, dir.)

Take the movie Drive. Replace movie heartthrob Ryan Gosling with music video heartthrob Daniel Schienert — aka 1/2 of directing duo Daniels — and lose all the violence so that you can fit in way more sexiness. The result is the very short film Boy Racers, which doubles as both a kinda/sorta Metronomy video and a cautionary tale about self-manipulating men in self-driving cars.

Bo Burnham "Repeat Stuff" (Rami Hachache, dir.)

Bo Burnham knows the secret of a hit pop song. Be vague, be catchy, repeat stuff, and obscure your darkest desires down lest they pop up and scare your audience. Bo could actually use some help on that last element — ie: the fingerbanging references should be masked at least a little bit, you shouldn't let your inner devil voice take over, and tearing a heart out should always be metaphorical.