In 2019, we saw a swath of local videos that defied simple quantification as promotional devices; instead demonstrating visual representations of pure ego and unbound pathos. In addition to their effectiveness as unique artistic statements, each of these videos—from DIY fever dreams to polished promo campaign puzzle pieces—allowed us a glimpse into the hearts and artistic processes of some of our favorite Atlanta and Athens artists.

In order to make the list, each of these musicians and directors had to pair a powerful song with equally engaging visuals—videos that not only matched the tone and energy of the underlying track but also allowed the viewer to discover something new about the respective artist. From Hot Air Henry’s museum-ready take on modern dance to the old-school carousing of Rollingchild’s “My Money (Grows on Trees),” each of the following videos represents the best of what the local scene had to offer in 2019. – Russell Rockwell

BOREGARD. – “Breakfast”
Directed by Something to Say Productions!

While BOREGARD. has made a steady habit of incorporating humor into his mercurial rhymes, his punchlines never come at the expense of his storytelling. The same could be said of the visuals for “Breakfast,” which center around—of all things—a sidewalk cereal club and its hilarious downfall. That premise may sound flimsy, but credit Something to Say Productions!—not to mention a solid performance from the rapper himself—for turning it into a candy-coated spectacle that’s as clever as it is funny. – Avery Shepherd

Hot Air Henry – “Iron Down a Drain”
Directed by Samuel Laubscher

How can you tell someone else you don’t belong in your own skin? How do you know that anyone will understand? With this poignant video shot in Scotland, Samuel Laubscher, aka Hot Air Henry, shows us how despair spirals into the darkness of self-loathing. The stoic choreography of Katie James pairs gracefully with the crashing cascades in “Iron Down a Drain,” as she tumbles and spins toward the setting sun. Another video that Laubscher released this year—for B-side “All We Have Seen”—is an equally poignant display of self-acceptance, but you always have to stumble through darkness before you find the light. – Lee Adcock

Karaoke – “Nice to Meet You Fine I’m Dead”
Directed by Max Siciliano

When Oedipus Rex lost his eyes, the audience had to acknowledge his blindness as a metaphor for his ignorance. When Grace Bellury loses her egg eyes in the first few seconds of “Nice to Meet You Fine I’m Dead,” however, we don’t have to assume anything. The psychedelic stomp of the song suggests a smothering of sorts, with the lead role pointing more towards Ophelia than Oedipus. As Bellury staggers blindly past her bandmates in a white gown, though, there’s no telling why she’s been deprived of her literal or figurative sight. And when she succumbs to the music’s hypnotic sway, we have to wonder if she gained some supernatural insight when her eyes were robbed. This isn’t Greek tragedy anymore, after all—this is Karaoke’s showstopping finale from their fine debut last year, and anything’s possible when you’ve already entranced gig-goers all over town. – LA

Kenny Mason – “HIT”
Directed by Nasser Boulaich

From promising underground talent to one of the leaders of Atlanta’s resurgent left-field, 2019 has been a hell of a year for Kenny Mason. And perhaps nothing was more pivotal to this transformation than the release of “HIT,” which outed the 25-year-old as a brash hitmaker with a bubbling, charismatic delivery. Directed by Nasser Boulaich, the accompanying visuals are equally striking—and distinctly ATLien. It’s not so much a celebration of self as it is a love letter to his hometown, his crew, and the community of supporters that have been elevating him from the beginning. – AS

Lambda Celsius – “Get Out”
Directed by Lily LeTigre and AC Carter

Nobody practices what they preach like AC Carter. To maintain control of their many identities under the (now defunct) Lambda Celsius moniker, the self-styled songwriter and engineer designed all their own costumes, including the rainbow array seen in this video as they defiantly stare down the streets of Los Angeles. The chilly synthpop of “Get Out” encourages non-men to reclaim control of their bodies by shifting to a new physical space. And that’s what Carter did, swinging from Athens to LA, where other self-styled artists could join in on the action. The final cut gives us a vibrant slice of our protagonist’s new life where their expeditions in fluid gender identity will continue, unbound by the judgment of the time-lapsed masses. – LA

Lesibu Grand – “The Legend of Miranda”
Directed by Claudia Turner

No one ever wants to admit it but at some point people who live together tire of each other. (That’s how conventional wisdom goes, at least.) Yet, as John Renaud and Tyler-Simone Molton bicker at the dinner table and idle in the living room, they ask us to wonder: can these two ever find the romantic spark that once crackled between them? With their perky single “The Legend of Miranda,” new tag team Lesibu Grand envision an escapade in deep space that reunites husband and wife against an invisible foe. The laser shootout that ensues might look silly and unfeasible, but that’s really the point. After all, can two adults sustain a long-term relationship with fantasies like these? That’s some meaty food for thought from these newcomers to the scene; here’s hoping they keep the cartoons coming in the new year. – LA

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