5 Must See Videos of the Week pt.2
SB19's "LAWLESS," shot the same week the group made history as the first Filipino act to ever play Lollapalooza.
SB19's "LAWLESS," shot the same week the group made history as the first Filipino act to ever play Lollapalooza.
This week's lineup proves that whether a band is riding the biggest milestone of its career or quietly returning to the same house from a video a year prior, visual identity is built through repetition, restraint, and a willingness to let a song's mood dictate the frame. Here are five standout music videos from the past seven days that demand your full attention, plus one honorable mention that deserves a watch.
Slayyyter – "brand new chanel$"
Self-directed once again, Slayyyter returns to the exact same house that housed last year's "BEAT UP CHANEL$" video, this time inverting the imagery entirely — an homage that even extends to a recreated, upside-down take on the Wor$t Girl in America album artwork. The clip drifts between a high school football field, a sun-bleached desert compound, and the cramped interior of a trailer, where Slayyyter poses in a Las Vegas showgirl getup before the whole thing detonates into fireworks. There's a specific kind of sadness baked into the Americana imagery here — empty bleachers, dead grass, a mobile home lit like a memory — that undercuts the song's high-drama pop instincts and makes the video feel more like a eulogy for a relationship than a victory lap. Directing her own visual mythology two videos in a row, Slayyyter proves she understands the emotional grammar of her own iconography better than any outside director could.
SB19 – "LAWLESS"
Premiering hours after the group became the first Filipino act in history to perform at Lollapalooza Chicago, "LAWLESS" finds SB19 leaning into a stripped-down, wood-paneled living room set dressed like a makeshift outlaw hideout, built around the same vintage black car and white goat imagery that anchored the single's teaser campaign. The visual leans on the group's precision choreography rather than elaborate production design, letting Pablo, Josh, Stell, Ken, and Justin's synchronized movement carry the song's cowboy-inflected swagger. It's a video that trusts its performers completely, and given the cultural weight of the week surrounding its release, that restraint reads as confidence rather than a missed opportunity.
Joy Oladokun – "Kind"
Ahead of her upcoming album Hope Is a Heavy Thing, Joy Oladokun's "Kind" arrives with the same quiet emotional clarity that has defined her catalog since 2019's "Sunday" — a queer Black woman raised in rural Casa Grande, Arizona, the daughter of Nigerian immigrants, telling stories about identity and connection without turning either into spectacle. What stands out about this rollout is how rarely representation this specific gets treated as simply warm and lived-in rather than a statement in itself. There's no otherification happening in the frame, no visual air quotes around who Oladokun is. It's just cozy, direct, and confident in its own specificity, which is exactly the register her best work has always operated in.
Primus – "The Ol' Grizz"
Directed by Cage Claypool, son of frontman Les Claypool, "The Ol' Grizz" blends animation with live performance footage to tell the story of an old-time gold prospector — a direct nod to the elder Claypool's real-life prospecting hobby, which inspired both the song and the A Handful of Nuggs EP it comes from. The animated sequences render Primus's trademark uncomfortable, marginal-character aesthetic in a style that owes an obvious debt to internet-native 3D animation, giving one of alt-metal's most idiosyncratic bands a genuinely new visual toy to play with three decades into their career. That a legacy act this weird is still finding new formal ideas, handed off to the next generation of the family no less, is exactly the kind of visual curiosity this page exists to celebrate.
The HU – "Horsemen"
Directed by Dashdondog Bayarmagnai, "Horsemen" continues The HU's now-signature fusion of traditional Mongolian instrumentation and heavy metal, arriving alongside the band's third studio album, HUN. Inspired by the historical Mongolian cavalry once known as the "Army of the Heavens," the video leans into sweeping steppe imagery and the disciplined intensity the band has built its entire identity around. Few acts working today can make throat singing and morin khuur feel this monumental against a metal backbone, and "Horsemen" is the HU doing what they've always done best: proving the fusion was never a gimmick.
Honorable Mention: Matilda Mann – "After the Love"
There's a genuinely compelling narrative economy at work in the first half of Matilda Mann's "After the Love" — a woman self-consciously singing and dancing with her Walkman as she makes her way to the gym, building toward what feels like it should be the start of a bigger story once she steps onto the treadmill. Instead, the video plants her there and never leaves, riding out the remainder of the song in the same static setup. The instinct that got the video moving in the first place — a specific character, a specific ritual, real narrative momentum — makes the back half's lack of follow-through all the more noticeable. A strong opening idea that never quite finishes the thought.
From self-mythologizing pop stars to a legacy metal band handing the reins to the next generation, this week's selections show artists finding new ways to trust their own visual instincts. Drop a comment with which video stood out to you most this week.
