Harry Styles’s video for “Kiwi” opens with a note: “No children or animals were harmed during the making of this film.” But the video gives no consideration to the dozens of sweets that were desecrated.
How many Haim videos will you need to watch to convince yourself that the sisters Haim are very, very good at walking but maybe not that awesome at dancing?
Oh, look what you made Taylor Swift do: you made her beat streaming records.
Remember in the late ’90s and early 2000s when every music video seemed like it took place in one room that looked like some space-age, underground bunker?
Demi Lovato had a novel new idea for the music video accompanying her new song “Sorry Not Sorry”: throw a wild and crazy house party! Damn, she’s innovative.
Those shots we saw in April of Harry Styles floating in the gorgeous, gloomy atmosphere were stills from his video for the dark yet realist ballad “Sign of the Times,” shot in the Isle of Skye in Scotland.
Here’s how you can tell that summer is coming: the birds are chirping, the weather’s getting warmer, it says so on the calendar, and three chillaxed sisters with good hair are releasing new music.
In James Blake’s new video for “My Willing Heart,” the song is nearly secondary; it’s emotional, immediate and watery like most of Blake’s more recent tunes, but here it provides a textural background for the visuals: Natalie Portman reveling in her pregnancy, an almost primordial being.
Surely many of us can relate to Dreezy’s plight in “Wasted”—ain’t-shit dude only calls for sex whilst drinking, and then late at night, and yet still we hold out hope he’ll change his ways. The song, though, is mournful but not disempowered; a statement rather than a plea, and an acknowledgement that the dude is the…
Rihanna—who confessed to being deeply in love with Star Trek since childhood so we have to believe it—released what’s being promoted as the world’s first-ever IMAX music video, “Sledgehammer,” a song from the Star Trek Beyond soundtrack.
Blood Orange’s Dev Hynes sometimes seems suspended in an alternate dimension where it’s perpetually the summer of 1986, whether it’s his thrifted cool dad wardrobe or his aspirations toward the production of Jimmy Jam and Terry Lewis.
Rihanna dances in a lit cube in the middle of a club (wearing a somehow-cool sequin/sheer baggy jumpsuit) in the video for her EDM song with Calvin Harris “This Is What You Came For,” a song about that magnetic woman who only has eyes for “you (ou ou ou ou).”
K. Michelle’s got More Issues Than Vogue but this man ain’t one: Her just-released “Ain’t You” video is vaguely subversive in that she’s styled in all manner of semi-BDSM-invoking chic lingerie, and contrasts it with the notion that she doesn’t need shit from a man, including his cash—“Nope/I drop a hundred band like…
Ariana Grande’s new album, Dangerous Woman, is a real ice cream cone’s worth of dance pop, an assemblage of summer jams that showcase her formidable voice and ability to stretch it between powerful diva and breathy coquette. One theme this album continues from her last is her desire for agency, which she takes, and…
With plenty of guns, titties, violence and a boat, director Harmony Korine turns “Needed Me” into what could essentially have been a sequence from Spring Breakers, his 2012 crime drama about pretty young killers.
This is a music video starring Kylie Jenner, titled “Glosses,” aka a promotional vehicle for her forthcoming line of lip glosses, which will follow-up her already popular Lip Kit collection.
Rihanna has a potent, wind-powered imagination in the video for one of her sexiest songs ever, “Kiss It Better.” As she worms around with nothing but black in the background, in her sheerest lingerie, it’s obvious what she’s thinking about is how good it was, physically but not emotionally.
There’s such a lovely ebullience to Toronto-born Joanie Wolkoff’s single “The Homecoming,” which rules. Staccato beats stretch crisply below her vocal, earnest and true with a teensy level of grit to it—you could imagine the accompanying video would come full of flashing lights and neon lines to connote the futurism…
ANOHNI, an artist, activist and the singer of Antony and the Johnsons, has released a spectacular new single titled “Drone Bomb Me,” accompanied by a video of Naomi Campbell crying the best tears you might ever see.
Lana del Rey portraying a California cult leader in her latest music video—administering acid as communion, literally drinking the kool-aid—isn’t really outside her purview, as this is a persona she’s been lightweight constructing from the beginning.