It’s five o’clock somewhere in Omar Jones’ latest music video for Isaiah Rashad.Following the promos for Same Sh!t and Do I Look High?, Jones has now directed the video for Happy Hour, Rashad's stylish and offbeat post-workday anthem that explores the feeling of exhilaration before a brutal comedown - told through dynamic visuals and conceptual storytelling.Rashad moves through a surreal dream world where a piano recital, a driverless car, and a red-lit bar all feel like pieces of the same euphoric high. It opens in a black-and-white liminal space where a piano recital acts as a kind of purgatory. In another scene, a driverless car–with Rashad in the truck bed–speeds down an open highway, acting as a metaphor for a joyride that is already out of his control.The song lyrics, "Pain, high, same thing," are complemented by stunning visuals of Isaiah navigating through a floor covered in broken glass and bleeding, but numb to the feeling. By the end, he's alone, walking back into the light—returning to his subconscious and closing the loop, revealing the true aftermath of his reality.Ambitious work and brilliant execution across the board.

The local pub turns into a nightmarish ground zero in Max Mclachlan's entertainingly ghoulish promo for Liverpool rock band STONE. The video for I Gotta Feeling is a fun gross-out trip, following a group of patrons in a pub who morph into zombified monsters, once they have partaken in the pub's interesting range of mood-altering ales.As lead singer Finlay Power bemoans the state of toxic masculinity - with biting lyrics such as 'Shout out to the writers of Peaky Blinders/You inspired the new age of wankers' - Mclachlan draws from a love of old horror movies, the practical effects literally come spewing out of the cast and band.There are noteworthy performances all round - but main character Hugo Hamlet is a true standout, completely embodying the concept and the spirit of drunk-zombie madness. This is made all the more visceral with the grainy, saturated look captured on 16mm by Owain Morgan, harking back to old Romero films and the zeitgeist that these events captured.In the end, the barmaid, who is clearly no stranger to dealing with monstrous men, splashes the one thing that can set everything straight: a glass of water."I wanted to take the concept of toxic behaviour and make it physical," explains Mclachlan. "Show it growing out from the inside of one drunk lad and spread, possessing a pub."