ROBBED from the Grammy win (I’m still Team Kendrick, for the record), this music video stood out to me immediately and honestly, was one of the first music videos I watched recently where I was like… “maybe I should write more about music videos…”

Filmed in Ukraine (before Russia’s invasion, to note), the director duo Vania Heymann & Gal Muggia take us on a fever dream where every time a verse ends, the scene changes, visually tricking us into thinking this was all done in one take.

It’s pure brilliance and I don’t even want to say any more about it to take away from your viewing experience because you should stop reading this and just watch it right now.

"Monument" by Röyksopp & Robyn (2014)

Ahead of their collaborative album “Do It Again,” Robyn teamed up with Röyksopp to just create music with no agenda after she was feeling uninspired. The result with Monument is an almost 10-minute long epic that confronts the nature of death and the legacy we leave behind.

Inspired by an exhibition Robyn saw of clay sculptures at the Saatchi Gallery by Juliana Cerqueira Leite, she set to work with director Max Vitali, her partner and prior director for “Call Your Girlfriend” and “Honey” on a piece that captures what our vision, or self we leave behind, might look like after death.

The video feels straight out of a video game or psychedelic trip, blending sci-fi and esoteric elements that pairs exquisitely with the sultry notes of the saxophone that guide the song along. Robyn’s eyes meet with other eyes that seem to be making sense of a new reality, while they float on an orb-like medallion through space.

Watch this behind the scenes clip to see more about how it all came together, including details about the spider-cam they used to create that feeling of weightlessness.

"Gunpowder" ( بارود) by Arabian Alien (2025)

There isn't a whole lot about Arabian Alien that I've encountered online, outside of their social media presence. But this music video stunned me: the storytelling, visuals, psychedelia, and beat of the song all immediately engaged me. It's one of my favorite music videos I've seen recently.

In 2020, the group released the self-titled film "Arabian Alien" which aired at the Sundance Film Festival and Palm Springs International ShortFest. The lighthearted sci-fi short, directed by Meshal Al Jaser and produced by Almotaz Aljefri, is about a married couple that encounters extraterrestrial life, and was shot in a fictionalized version of LA that's supposed to resemble Saudi Arabia.

Gunpowder seems to pick up where Arabian Alien left off, leaving me to wonder where the group is headed and if we'll be encountering more extraterrestrial life from them. I may be overstepping on my interpretation of it, but it seems like the filmmakers wanted to show how to overcome a broken society using the traditional tools at hand.

"Locket" by Crumb (2018)

This video was directed & edited by Haoyan of America, an enigmatic film group that have been the masterminds behind a wide variety of trippy music videos over the years. In this one, we follow a group of friends that have seemingly taken psychedelics as lead singer NAME croons about having a dissociative experience.

There’s a lot to take in visually on this, from tiny pianos to squishy toys, fishbowls that turn into marbles, orbs floating out of eyeballs… to name a few things. It’s ‘90s kid nostalgia paired with goofy experimentation and psychedelic bafoonery, making it pretty fun to watch. It also features a 360 cam ahead of its time, as this was released 7 years ago (before TikTok was even around! (in the US at least)). It’s laid back and the ending will leave you on a high note. Pun intended.

This stormy, dreary music video by Simon Kounovsky really captures the noisiness of the music and the sentiment of the song title: I am crushed. According to Cooper, the quote was pulled from an anonymous submission from his website when he asked people to submit responses to the question: “What do you want to express, which you feel you can’t in everyday life?” This submission was included in his “On Being” album, which was released in February of this year.

Watching this video makes me feel like I’m an angry god in the clouds casting lightning and blowing out rage. I love how moody it is and how it really captures the chaos of that spiraling feeling when you are–as the name suggests–sitting alone in your thoughts. Do yourself a favor and follow the video’s creator on Instagram for more moody, stormy reels.

“Dayvan Cowboy” by Boards of Canada (2005)

Online fans freaked out when this got uploaded to Boards of Canada’s YouTube channel a few months ago, but it’s just a 4K version of the original music video that was released in 2005. “When will we get new music?” they say… enjoy The Campfire Headphase again I say!

Something about me is that I will always enjoy a surfing video–even though I know almost nothing of the sport, I’ve only tried it once and barely got on my feet, I don’t know any of the rules, and I can’t name any of the players. I can’t explain why I feel so drawn to it, but I feel so calm when I see a big wave curling and a little person barrelling through.

This music video features Laird Hamilton and his legendary millenium wave from August of 2000. For some people, watching him ride the waves that day may be etched into their memory as one of the greatest days in surfing history. For me, I was probably busy passing origami notes written with gel pens and smashed with stickers to my best friend.

Regardless of my personal connection to the event at play, I just love this music video, and I have no notes.

“Phantom” by Tycho (2024)

This video was animated by Ricardo B. Ponce - or @pixel.flux on the gram, whose feed is pretty amusing if you’re wanting something to just vibe out to. This single was launched to promote Tycho’s 2024 release, “Infinite Health,” which was released a few months after the video. As a lead up to it, the video did what Tycho does best: bring the chill vibes.

Tycho (aka Scott Hansens) said he “wanted ‘Phantom’ to feel like a blend of lights in a nightclub with some unknown entity; a moving and shifting intelligence that served as a conduit to a deeper understanding of what’s beneath the surface of existence,” and this video captures that shifting intelligence with precision. The shifting orb of light seems to convey a hidden message of universal motion. I like it because it’s like watching light form in space, or something akin to a nebula at a dance party.

In addition to the animation by Ponce, the music video was directed and edited by S.Hansen.

“To the Moon” by Shabaka (feat. Andre 3000) (2024)

Featuring artwork by Shabaka, this video is captivating for its colors and live-drawn animation. In the beginning, a warrior in a forest appears to be defending their territory, and as the viewer gets drawn into the eye of their mask we are transported to an inner vision of abstract shapes. As it begins, so it ends.

“Possession,” the EP released in 2024 in which this track is featured, marks a departure for Shabaka from playing the saxophone to flute. Throughout the 23-minutes over five tracks, Shabaka collaborates with spoken word artists, rappers, and other artists to create an experimental jazz/ambient album that fuses different elements of the Afro-Caribbean nature of his upbringing.

This video, similar to others Shabaka created, works seamlessly with the flute music, as the drawings flow with the wind-bloan breath. Working with Andre 3000 seems divinely inspired on this track and I hope to see them create more music together.

"The Wind" by PJ Harvey (1998)

Technically this is not an “ambient” track, but it is what I would consider an ambient music video, so I wanted to include it.

It's hard to choose a favorite PJ Harvey music video, but I love this one for its sensuality and simplicity. The song, released on 1998's "Is This Desire?" is one of PJ Harvey's best albums, in her own words (at least according to Wikipedia). I personally enjoy it for its downplayed trip hop and electronic elements, while still staying true to her gritty rock style.

The song is inspired by Saint Catherine and the chapel in Abbotsbury, which was near Harvey's home at the time. Catherine is the patron saint of unmarried girls (or nothing, in Harvey's lyrics), and was martyred at the age of 18, according to her hagiography. The song, in true PJ Harvey style, ends with a traditional prayer the women used at the chapel to attract a husband, but inverted.

What I like most about this music video is the synesthesia. As her face in the film blurs, the wind blows in the track, and she sings of Catherine who "sits and moans/ and listens to the wind blow." Harvey is seen traveling through New York City on a windy day, the wind blowing through her iconic black hair, and smiling in a taxi cab on the way to who knows where.

It was directed by frequent collaborator to Harvey, Maria Mochnacz, who also directed "Down by the Water" and "C'mon Billy," both notable music videos in different ways.

Share Really Cool Music Videos

This video by Palestinian rappers Shabjdeed & Riyadiyat (with production from Al Nather) was immediately compelling to me, and I had to include it as the first in this feature. Directed by Rony Karkar with creative direction from Shabjdeed, the team put together a story that feels like glimpses of a dream. Or maybe it’s just my recurring dreams of falling that made it feel that way.

Shabjdeed said he wanted to purposefully make the music video abstract, in departure from their more metallic style of branding, and Karkar wanted to create something that leaned on the audience’s freedom of interpretation, kind of like how you would view someone’s tattoo. But there are some obvious political connotations to the work, as seen through the use of surveillance, violence, and occupation in the animation and lyrics that explore the implications of warring empires.

Do yourself a favor and follow the animator, Romy Matar, who really knocked this one out of the park.

“One More Time” by Daft Punk (2001)

Launching us off into space is what Daft Punk is good at! This video is so fun to watch for its vibrant colors, cool atmosphere building, and fun goofy characters. This was the first music video from “Discovery” released before the duo created a full feature film, “Interstella 5555: The 5tory of the 5ecret 5tar 5ystem,” which was released in 2003.

The film was written by Thomas Bangalter, Guy-Manuel de Homem-Christo and Anthony Moore and directed by Kazuhisa Takenouchi, with supervision from Leiji Matsumoto. Thomas and Guy were huge fans from their childhood of Matsumoto’s work (especially Captain Harlock), and they wanted to create a sci-fi story about the entertainment industry they were steeped in and tried so hard to avoid throughout their careers.

The result was the creation of this human-like pop band with blue skin who fight these mysterious raiders from Earth that invade their home planet. You can watch all the videos in order to get the whole story on YouTube.

When the song was released, it was a huge hit, and remains to this day one of the most classic danceable tracks that is a surefire tune to get a crowd pumped.

"Do for Love” (feat. Eric Williams) by Tupac (1997)

This track was the second one to be released posthumously on “R U Still Down,” and though the track is usually met with high praise, the music video was met with mixed reviews. Directed by Bill Parker, the video mixes analog animation with claymation and rotoscoping, all set in the Bay Area where Pac hailed from.

Some people accuse this video of being juvenile due to it being animated, but I disagree. Sure, the animation isn't of the highest caliber; but guys, it's a music video! The track showcases a softer side to Pac, and the video highlights these romantic mannerisms and inner thoughts that I find endearing. I think it's a brilliant way to create a music video when you can't actually use the musician as an actor, and I wish it was more commonplace to see this kind of innovation in music videos today.

Plus, that sample from Bobby Caldwell's classic is impeccably used. RIP Pac. You were too good for us.

Side note: this clip from 1992 where Tupac talks about Trump feels so pertinent today. Sometimes I imagine what he might say about Diddy and Trump today, or even the beef between Drake and Kendrick.

“You're Too Precious” by James Blake (2020)

Released during the early days of COVID lockdown in 2020, this single was co-produced by James Blake and Dominic Maker, who is one of two members of Mount Kimbie. The song is upbeat and lighthearted, with lyrics about how precious his longtime girlfriend Jameela Jamil is (who I find cringe, but whatever, Blakes' music still bops). It's Blake doing what Blake does best: crooning about desire in a way that feels... without being too on the nose here... precious.

I chose this video because the song matches the animation splendidly. The animation, using techniques of rotoscoping, was directed by Orfeo Tagiuri, with thick black drawings overlaid over moving images or collages. I don't know what else to say about this. It's just one of those feel-good songs that make everything feel a little lighter than before.

"Stump" by Hotline TNT (2024)

As a sucker for shoegaze bands, I found myself instantly hooked on Hotline TNT's 2023 release "Cartwheel" - I know that makes me late to their game since they released music as early as 2019 but do you think I care? Anyway… let's stick to the point and talk about this video.

This video, directed/animated by Matt Carignan (check out his feature on It's Nice That), features live footage of the band (filmed by Richmond Hayes) interspersed with psychedelic illustrations. The video begins outside of this house with some demon-looking entities. Once we enter, we see this cartoon character watching TV: which airs clips ofthe band playing the song or... playing with goats. It's this American gone punk aesthetic that feels like a mashup of Cartoon Network shows from the '90s.

It feels juvenile in a good way, like I'm in high school again watching cartoons with my besties before sneaking out of my house and wreaking some havoc.

“Shot in the Back of the Head” by Moby (2009)

Directed by the recently deceased David Lynch, this short music video features black and white hand-drawings animated to show an urban scene with shocking events unfolding. Setting the stage by showing cars travelling to and from, we then go into a character’s bedroom where some real shit starts to go down.

Though the animation is somewhat juvenile in skill-level, the emotion still comes across through the squiggled lines indicating cloudiness or turmoil, and the slowness of the storytelling makes it an engaging piece.

The song was the first single to release from Moby’s 2009 release “Wait for Me,” which was inspired by a speech on creativity by David Lynch that Moby listened to. In the speech, Lynch talked about how creativity without pressure from the marketplace is fine, but it’s when art is made to be released for an audience that it can become distorted. Moby then buckled down in the studio and released something for himself, not caring how listeners or critics might take it. The result was a more pared down and melancholy album compared to his other more danceable releases.

"Good Luck" by Debby Friday (2024)

This film (which she released on VHS in limited edition) was made to accompany her release on Sub Pop with the same name. What I liked most about this short film, compared to the above reviews of Baby Rose's and Chynna Rogers, is how the storyline takes priority over the music. Friday's tunes can be heard in snippets like during a party scene or when she's walking to school and listening to her headphones, but the main focus of the film is on Debby's journey with some dark encounters.

There's so much about the visual aspect of this that instantly drew me in, and the sensuality of her digging her nails through the plum to find a key was filled with such juicy, plump, ASMR satisfaction. Friday is more than a triple threat: she's a visionary. Her signature style is not only noticeable in her music and production but through her visuals, merch, and fashion choices (like hello, legwear queen).

The film was directed by Debby Friday together with Nathan De Paz Habib.

"Slow Burn" by Baby Rose (2024)

This short film highlights all of the songs from the Slow Burn EP that Baby Rose collaborated with BADBADNOTGOOD on, which was released last year. The film was shot in only two days and the EP was recorded in just a couple of weeks - a remarkable feat which to me highlights the synergy of the artists working together. It's such a comforting listen. Perfect to turn on when you're winding down at night or when you're trying to seduce a lover.

The film, directed by David Maxwell, starts out with Baby Rose reading a letter from her future self, letting her know that greatness is ahead but won't come without trouble. Her red manicured nails pop out and compliment her red lips and the red vintage car, highlighting the classic and timeless style of Baby Rose's persona. It adds texture to her voice that we see visually: when she sits on the leather Chesterfield sofa in the speakeasy, when she blows out the flame on the lighter, or when she stirs the ice in her drink.

The EP is lush and soulful, and the film follows suit. Both were created using analog materials: the album recorded on tape and the short film recorded on film. Baby Rose credited these methods to show how intentional each shot was and how they didn't waste any moment during creation. The process coincides with themes in both the film and songs, where she time travels and reconciles lessons between her past, present, and future self.

I can't wait to see what Baby Rose does next. Her voice is so lush and smooth, it's soothing to hear a new voice that dials things back and slows it down. It's rich and sultry, and I can't get enough.

“Drug Opera” by Chynna Rogers (2021)

Released posthumously (RIP Chynna), this short film, directed by Henry DaCosta (who also directed "No Hands" and this short about Halley's Comet), encapsulates a lot of what I really loved about her. Her influences from horror films, particularly those from Alfred Hitchcock, was evident through many of her prior music videos (see: The Conversation). But Drug Opera takes it to the next level and culminates in a collection of even more themes of horror and darkness, tinged with a reluctant sense of optimism.

What I loved most about Chynna was how real she was about her dark sides. She was a Slytherin, she said, and she embraced it. Her lyricism dealt with issues of depression, drug addiction, and the phonies in the industry (she was immersed in both the music and modeling worlds), and she wasn't afraid to go deeper. It was refreshing, to me, to see an artist elevate their craft and embrace complexity instead of trying to hop on trends or churn out pop hits for consumption.

She was effortlessly cool and laid back. As one of the members of the A$AP mob, she had so much potential and is really gone too soon. It still hurts to have such a unique voice no longer around.

"Stillness in Wonderland" by Little Simz (2016)

To accompany her sophomore release, “Stillness in Wonderland” the film was released the same day as the LP, which also coincided with the release of a comic book series featuring artwork by McKay Felt. With the opening lyrics of “Mentally enslaved…mentally deranged,” you get right from the start that this self-proclaimed introvert will be giving us a glimpse of her inner world through this work.

And a deep glimpse we get, especially through this short film, as we fall down the rabbit hole in the visuals. Just like the opening lyrics set the stage in her inner-world, the opening scene of the film is Simz in a meditative state in the bath, eyes closed and lost in thoughts. The film continues on a mind-bending journey following the artist through a series of thoughts that get spoken out loud, with mirrors, analog clocks, the color red, and other Wonderland allusions coming through.

Simz said that she saw Alice in Wonderland playing on the TV in her studio, which inspired the work. With the classic cartoon as her guide, she explores all the similar kind of rabbit-holes Alice does in the life she found herself in at the brink of fame: through the industry and through her inner-world. The LP features a trio of Cheshire’s Interludes’ which contemplate the role of imagination and how it can turn into something real and tangible–something Simz grapples with as an artist with influence.

The film was directed by Jeremy Cole, who worked with Simz on her premier short film accompanying her first release: “A Curious Tale of Trials + Persons: The True Story,” among countless other music videos and projects.

"Big Time" by Angel Olsen (2022)

This film, directed by Kimberly Stuckwisch and Angel Olsen, is a literal dream realized from Olsen’s subconscious. Olsen said after her mom’s passing that she had very visual dreams about time travel–which influenced the album’s title “Big Time”--and approached Stuckwisch to see if they could make it a reality.

So the surrealist journey we take in this short film (which is almost a regular film, at close to 30 minutes) is full of scenes that explore the emotions of Olsen through dialogue and events, some based in her reality and others not. All of this, Olsen says, is in homage to her mother. In the film, Olsen grapples with her sexual identity, performance anxiety, and the pain of letting someone go, including your own past self.

The way this film is shot was incredibly engaging to me, with the lightplay and shadow-work done with intentionality to reflect the shadow work Olsen has to undergo. Bringing to light what’s in the subconscious, we see what Olsen means when she says she needs to dive deeper into the unknown.

Kevin Morby: I Have Been To The Mountain (2016)

I love this video for its slow buildup to the dance and its storytelling. A man who appears to have died comes back to life in the hospital he passed in, only to seem confused (and drugged, by taking some unknown pill from a nurse). As he maneuvers through the hospital seemingly unseen by everyone else, he starts to dress himself and indulge in profound goofery.

Director: Phillip R Lopez

Starring/Choreography: Nathan Mitchell

Vegyn: A Dream Goes On Forever (2024)

Filling in liminal spaces in what appears to be an abandoned office building, dancer Tishainy Constancia commands attention with her lyrical movements that effortlessly flow from one scene to the next. Though Vegyn has a pattern of publishing videos of solo dancers as the entire video (see here, here, and here, for just a few), this video in particular seems to parallel Weapon of Choice (featured below) as far as mood/visuals–-intentionally or not.

Director: Joshua Gordon

Fatboy Slim: Weapon of Choice (2001)

This video won multiple awards at the 2001 MTV music video awards, in addition to winning the Grammy for best music video the following year. Following Christopher Walken, we see him dancing around an abandoned hotel lobby with surprisingly skillful leaps and flips among the flailing. With special effects we see him falling off a side railing at a point, enjoying the weightlessness among the building’s interior.

Director: Spike Jonze

Radiohead: Lotus Flower (2011)

I distinctly remember the feeling the first time I saw this which was: this is so tight! It validated my weird dancing at parties and inspired me to go even weirder. Thom Yorke is such an interesting dancer and I love how this video strips down any plot or visual effects to focus on just him and his movement.

Director/Producer: Garth Jennings

Choreography: Wayne McGregor

David Byrne: Once In A Lifetime (1980)

I couldn’t not include this one. Byrne is pretty well known as a weird dancer, and this video illustrates that pretty succinctly. Together with co-director Toni Basil, the two studied archival footage of religious rituals from around the world to mimic in dance.

Directors: Toni Basil and David Byrne

What the hell is this?

A newsletter to share really cool music videos, duh! Simple, point blank.

What this isn’t

This is NOT a space for criticisms. This is a platform for celebrating cool shit. I am not going to share videos that I think are uncool (unLESS those come from a guest contributor that I disagree with--but I’m not gonna share that out in the open with y’all, I’ll just quietly disagree to myself where you can’t see me).

This substack is also NOT a place to rank videos or hand out awards for like the best-of’s or anything like that. I don’t know every single thing there is to know about music videos, I haven’t seen every single music video out there, I don’t know all the great directors. I just know what I know and I like what I like. It’s not that deep.

One more thing: this is NOT a place where I’ll be sharing the “latest-and-greatest” videos or “hot new videos out this week” or whatever. I might share some hot new videos, but I might also share some hot old videos. I might also share some cold videos that have 0 views on YouTube. Real cool knows nothing about what’s trending--it just knows what’s up.

Who the hell are you?

Hello all, I’m brinley. I’m just some girl who likes listening to music and watching cool shit. I’ve also written for several publications, but this isn’t related to any of them. This is all me baby.

My taste in music is pretty eclectic and constantly evolving, so you might see me sharing R&B videos alongside some heavy doom metal track from one week to another. You never know what you’re gonna get, which is kind of exciting, right?

That said, to get a feel for my taste, here are some of my favorite music videos, with no context:

• Little Simz - Flood

• 070 Shake - Black Dress

• JMSN - My Way

• Missy Elliott - She’s a Bitch

I guess you’d probably gather from that list that I lean heavy toward R&B, but I promise everything won’t be just that.

Why are you writing this?

I wanted to create something that can help people take their mind off of the dreary news cycles or away from doom scrolling and share some delightful things to feast your eyes and ears on. Our world is kind of shit right now, but the art is still arting, and we are going to get through this together one way or another.

I also wanted to create something that I couldn’t find already being done. There are so many music review websites and forums for music out there, and I didn’t want to just recreate another one. But I don’t see a lot of outlets focusing just on the art of music videos anymore. Most artists just seem to throw their music videos out on the YouTube, hope for the best and let the algorithm do its thing. At least, that’s my impression. Maybe I’m missing something. Am I?

I also wanted to see something that celebrates music videos outside of the promotion cycle. Some of the videos I share will be old, or new but sort of not new, or brand new, or whatever. Some of the videos will be popular, and some of them won’t be. You might like them and you might not. That’s kind of fun right?

How will you be selecting videos?

When I first started coming up with this newsletter idea, I wondered to myself: what makes a good music video? Is it one that tells a story, or one that’s more of a visual mindfuck? How do the choreography or costumes inform the track, and how does that influence everyday nightlife and culture? Does the video need to enhance the song? What if the song is really good but the video sucks, or vice versa? Do I share videos from artists who have a problematic past?

I decided that there are no easy answers about any of that, so my criteria is simply: if I watch a video and go, “that was really cool,” it qualifies.

However, I will definitely give pause to videos from artists who are abusive - I don’t care what gender, race, or other type of identity they have. If I choose to include a music video from that person or group regardless, I’ll do my best to add a caveat about the allegations so viewers can at least decide for themselves if it’s worth it to watch/engage with that. That said, I don’t know what I don’t know, and I may not always know what’s going on behind the scenes. You know?

To create some order to these newsletters, I will at least group videos together around some sort of theme: whether it’s grouped by the region they came from, the format of the music video, the genre or era it’s from, or something else entirely. So you might get animated music videos one week and music videos from Jamaica in another digest. Who knows (even I don’t)!

Who is this for?

This is for anyone who appreciates music videos, anyone who wants to zone out for a little bit and watch something cool, people who want to put on a music video playlist, people who like cool shit… So it could be for anyone, really.

Where are you going with this?

Admittedly I have bigger visions for this that will not be able to bear fruit without funding. Eventually I would like to build a website, start social media accounts, and welcome paid guest contributors. But that will take time.

So for now, while I have no funding, I’m just starting with a humble newsletter and seeing where it goes.

That reminds me: pass this on! Forward it to your friends who like cool shit.

How often are you going to send these?

For now as a one-woman-show, I hope to send one or two little digests a month. If there are readers interested in contributing their own summaries, I may send them more frequently. I do not plan on sending this more than one a week. I’m not trying to be THAT demanding of your attention.

In conclusion…

Which brings me to my final point: if you’re like, oh my god I have such good taste in music videos, and I know so much, and I want to write about this: reach out to me! Just know that as much as I appreciate and welcome other voices in this space, I absolutely cannot pay you for your time and energy right now. I will also only consider publishing guests who take the time to write something worth reading.

If you’re like, oh my god I have such good taste in music videos, and I want to make sure this one is on your radar for an upcoming feature: just send me the link! I’ll watch it and consider it.

Thanks for reading, and find my next post where I actually share some really cool music videos shortly!!