"Might Be Right" is the first music video from White Reaper's forthcoming album entitled "You Deserve Love". The video was inspired by the minimalist hard-edge paintings of Ellworth Kelly, which often employed bright colors and emphasized line and form.
Behold what should be an ideal robotic replacement for striking workers, except the robots seem to be more interested in dance and disruption than anything that would be considered productive.
Stillness is not the move for this new Hozier video starring ballet dancer Sergei Polunin, who previously starred in a collaboration for the singer's "Take Me To Church" breakthrough song.
Modern Misery looks at the lack of connection, empathy and vulnerability in modern life. The video looks at the invasion of privacy, the deterioration in social skills and inability to connect on an emotional level. The idea that we have strayed from a more natural way of ‘being’.
Blue and Yellow, Blue and Yellow, etc. Beck collaborates with film director Edgar Wright, actress Alison Brie, and choreographer Ryan Heffington on a video that's, yes, quite colorful and absolutely ecstatic with sharp dancing and sharper editing that lands it somewhere between Busby Berkeley and Blue/Yellow Man Group.
Motel Music Part II, a short film directed by Johnny Hardstaff for French artist Jimmy Whoo, closes out Whoo's Motel Music chapters (2014-2017) with a twisted tale about men and motors.
A lynchpin of the Parisian music scene, Jimmy Whoo is a renowned DJ, producer, and curator, and the founder of label Grand Ville Records. Whoo’s 2017 mixtape, Motel Music Part II, is the culmination of his time spent with other artists on the scene, and works in a mix of jazz, soul, and hip-hop influences, whilst maintaining the modern electronic feel for which he’s best known.
A nifty progression from the last Francis And The Lights video — which featured Kanye and Bon Iver — this time letting Chance The Rapper show some stillness and some moves.
Romano Pizzicihini’s video for ‘Beyond the Wizards Sleeve’ by Black Crows explores the eery tension between two tennis students. Romano describes this tension as, “constantly teetering between innocence and brutality, but shot in a matter of fact way.”
