Ellie Goulding lost in a forest in "Beating Heart"

Ellie Goulding gets lost in a forest in the enchanting music video for the ethereal "Beating Heart," one of the many contributions the British songstress that are featured on the "The Divergent: Original Motion Picture Soundtrack," just released this week. "Divergent," the upcoming new teen movie sensation, will open in theaters across the States on March 21. The quirky pop goddess was appearing on MTV's studio with the cast of "Divergent," namely stars Shailene Woodley and Theo James on Wednesday when the official visuals for the tune were given their first outing.
Goulding wrote this song specifically for the film "Divergent," which is an adaptation of Veronica Roth's popular teen novel of the same name, and she also lent three of her "Halcyon "tracks to the film. "'Beating Heart' is about being away from someone or knowing that you're always going to have to be apart from someone that you really love," Goulding has told MTV News. "And it's painful, but it's hopeful because there's always a chance that they'll collide again like two people collide. Like the universe will bring them back together. I think the song is basically that. Sort of relying on the fact that if you're meant to be drawn back together you will be."
The 27-year-old star also provided the "musical voice" for lead character Tris Prior (played by Shailene Woodley). "For me, the movie is about a young woman finding herself, transforming herself and becoming powerful on a societal stage," explains director Neil Burger. "It's an intimate, personal portrait, but on a grand scale. Ellie's music has that very intimate quality. You are in the heart of her characters, in their souls, in their minds. When she sings her voice resonates inside you. Her music was a perfect way to do all that for Tris—to feel what she was feeling inside."
In the nearly four-minute visuals, Goulding singing the song while walking around and wandering through a forest , and she's not sure where she's going. Dressed in a lovely short silk black dress, she will eventually face her lover who is also sporting a Dauntless fire tattoo, matching hers, inspired by the dystopian movie. With the dark hues and magical forest atmosphere, it's like we've stepped back into the Twilight days, sans sparking vampires. By the end, she wants to feel his beating heart, finally meeting her tempter face-to-face.

Hunter Hayes reveals bullying past in "Invisible"

Hunter Hayes goes for full-on inspirational in the touching video for his latest single, "Invisible," debuted at this year's Grammy Awards in January 26, is the first single from Hayes' sophomore set, "Storyline," out May 6. This new clip depicts the struggles described in Hayes' powerful song, a complex and satisfying expression of vulnerability, plays out various scenarios in which people, especially students, can feel as if they are invisible. Feeling low? Have you ever felt invisible? Hayes' "Invisible" will get you through today.
Hayes is only 22, but the young country artist is going to be hearing from fans for the rest of his career about how his current single, "Invisible," helped them through a rough time. The uplifting song, is about overcoming personal struggles and adversity, whether from bullying or loneliness, a subject that is close to the singer's heart. The message of "Invisible" is more than just your new pick-me-up anthem, but also has a quantifiable real-life impact: For every download of the song from iTunes, 'Child Hunger Ends Here' will donate the equivalent of one meal to 'Feeding America,' up to one million meals.
Hayes spoken earlier about writing this piano ballad about his being bullied in high school, "To me it's also just about being misunderstood. Just me being in high school, just the smallest scale I know compared to a lot of stories that I've heard, a lot of people that I've met... yes, I was a total geek, I was a total nerd, and you know, I still am, and I'm proud of that. But it took me a while to realize that it's OK to be proud of that, right? Because in that time and period of my life, if you didn't fit in, what else was there? Fortunately for me I had incredible parents, I had an incredible support system, musicians around me, and that showed me that there was hope that there was maybe something else I could look forward to."
The clip opens on a night drive amidst gleaming lights, but the '80s-synth nightmare of "Drive," this is not. Instead, the video features vignettes of people down on their luck or faced with a rough situation: a mother ignored by her son, a girl picked on in class, a hungry kid coming home to an empty fridge. Soon, in comes Hayes to the rescue: "Hear me out/ There's so much more to life than what you're feeling now," Hayes sings as the country-pop track swells to an electric climax. Some nifty special effects help the actors bring the song's title to life, but as Hayes delivers an emotional guitar solo, they go from fading to glowing.

Nina Nesbitt covers Fleetwood Mac's "Don't Stop"

Nina Nesbitt has unveiled the video for her cover of Fleetwood Mac's "Don't Stop," which is included on the Deluxe edition of her debut studio album, "Peroxide," is filled with snappy pop songs about growing up, first love and heartbreak, released on Valentine's Day. The Scottish-Swedish singer-songwriter and guitarist recorded her cover version of the British/American rock band Fleetwood Mac's 1976 hit rock track for the department store John Lewis last August, and it has been used in one of their advertising campaigns as she entered the hallowed clique of female singer-songwriters to have soundtracked.
Discovered by Ed Sheeran at the age of 16, and gained exposure as his support act, the Scots starlet is just 19-year-old, but her debut album "Peroxide" looks as if it's about to top the charts as the most pre-ordered record in the history of her record label. Nesbitt has already released several EPs, but the deluxe edition of her new album contains an impressive twenty tracks - quite a feat for somebody who only picked up a guitar four years ago. With her pretty, doll-like features and great big mane of dyed blonde hair, Nesbitt stares out of the cover of her debut album like a standard-issue pop starlet.
Following in the footsteps of friend and fellow female singer-songwriter Gabrielle Aplin, Nesbitt's cover of Fleetwod Mac's "Don’t Stop" for a John Lewis advert is perhaps a little muted and forced, but nonetheless showing off her versatility. The original "Don't Stop" reflects Fleetwood Mac singer Christine McVie's feelings after her separation from Fleetwood Mac's bass guitarist, John McVie, after eight years of marriage. "'Don't Stop' was just a feeling. It just seemed to be a pleasant revelation to have that 'yesterday's gone'," she remembers in The Fleetwood Mac Story: Rumours and Lies, "It might have, I guess, been directed more toward John, but I'm just definitely not a pessimist."

Nesbitt explained of the new single: "I have always loved Fleetwood Mac and am really glad that John Lewis liked my version of Don't Stop." If you've been anywhere near a tellybox over the past few weeks you'll probably have seen their new ad with Nesbitt's vocal chops chucked over the top of it. And now Nesbitt's made her very own video for the quirky little Fleetwood Mac cover. The clip basically features an actual real life tortoise and sees Nesbitt perform in a house, whilst a guy is pictured showering in blue paint (practical) and lots of amazing hair and clothes.

Lily Allen goes for a wild ride in "Our Time"

Lily Allen goes on a long taxi ride in the music video for her newest catchy ditty "Our Time," the third official single, following "Hard Out Here" and "Air Balloon," to be lifted from the British singer-songwriter's upcoming third solo studio album "Sheezus," will finally hit shelves on May 5th through Regal Records; more than five years after her last collection "It's Not Me, It's You" in 2009. The artwork for "Sheezus" sees her sitting outside a stately home with her corgis, while the building is engraved with the Latin motto 'divide et impera' (divide and rule).
She's coming back to pop music in a big way. While Allen's "Hard Out Here" video was playfully skewered Robin Thicke's misogyny, her new single "Our Time" takes a page out of his VMAs twerking partner's playbook. The latest "Sheezus" track, celebrated with hot dog fights and flasks, is basically Allen's version of Miley Cyrus' "We Can't Stop," a girl-party jam that makes no apologies about getting drunk and high: "We will wear our drink til we lose our minds / Wanna lose sense of space and time / We're going through, it's how we do / Tonight we're taking over."
The satirical 3AM party anthem "Our Time," is more downtempo than previous releases and probably the best tune to be revealed from her eagerly awaited new album. The 28-year-old has been showcasing plenty of new material in recent months, including her addition towards the the popular "Girls" soundtrack. With a little over two months until the release of "Sheezus," the London singer reveals an equally entertaining video for "Our Time," which chronicles a booze-filed and drunken late-night in London through a familiar journey of grabbing food, getting into an argument and the long taxi ride home.
Directed by Christopher Sweeney, the boozy Lahndan-themed clip features a hilarious plot and shows Allen getting drunk and seeing triple with a number of different versions of herself in the back of a taxi cab, going for a wild ride, enjoying a night, performing the song, driving around the streets of London, and, at one point, wearing a hot dog costume and eventually getting into a fight with one of her doppelgangers. There's also some bonding, crying, passing out, stiffing a taxi driver, and stumbling home in the early hours of morning. And she's definitely on her worst behavior.

Kaiser Chiefs walk up a path in "Coming Home"

Kaiser Chiefs recently released a new music video for their comeback single "Coming Home," the first official single to be lifted from British indie rock's forthcoming new album "Education, Education, Education & War," which marks a new era for the band and will be released in the UK on March 31 and in the US on April 1 via Universal Music. The return of English rock band Kaiser Chiefs is around the corner. After promoting the first buzz tracks "Misery Company" and "Bows & Arrows," the world is ready to enjoy its upcoming new album.
Some songs are made to fill summer stadiums as the last light falls over the crowd. Kaiser Chiefs' new single "Coming Home," a U2/Kings of Leon-ish stadium-sized ballad, is one of them. There's a softer flow to "Coming Home," with light synth chords and twinkling guitars. It's a bit like Mancunian mystics James, for all you gnarled veterans out there, and boasts a second singalong chorus on the trot ("We're coming home... light a fire") to prove once again that those chops are still intact, however hard will.i.am tries to infect frontman Ricky Wilson with his anti-joy miasma.
The 'one shot' promo was shot in the Yorkshire Dales, not far from the band's hometown, and was directed by James Slater who took the songtitle to heart in his latest video for Kaiser Chiefs. As he explained: "We shot the video in a jovially named place called Blubberhouses which is right on the southern cusp of the Yorkshire Dales, and not too far from where I'm from. Its also just up the road from where the band hail. I think we all just hankered after a bit of home cooking. I've never shot in Yorkshire before, I should do it more often. The landscapes are great and as soon as DOP Jonathan Isles put the anamorphic lens on, it looked like a Western setting."
The video features Wilson share a journeyman's trek, walk up a path in what looks like the English countryside as he strolling across moors, while various characters, including his bandmates are lined up along the pathway, and finishing up alongside his bandmates in deck chairs looking down the road. The meaning behind the small details of the video coordinate with the song, and are really rich here with Wilson's quality as a performer, embraces the band's laddish humor, and adds a welcome measure of theatricality to the whole affair.

Kings Of Leon embedding themselves in "Temple"

Kings of Leon are steady rolling out videos from their 2013 album "Mechanical Bull." This time, the band of brothers strip away the drama and the actors and keeps it simple with a straightforward performance video that they have just released for their song "Temple," the second official and third overall taken from the rock band's sixth studio album, "Mechanical Bull," the band's first album in three years sees the Tennessee rockers attempting to rediscover their early spark, but falling frustratingly short. The yearning "Temple," which sits neatly in the middle of the 11-track release, is perhaps the best thing they've written in five years, and certainly the most effortless.
Self-assured, conventional, and damned if it's not pretty effective, Kings of Leon's "Temple" neatly sums up the strengths of "Mechanical Bull." This song about taking a shot in the head for a prospective lover, was penned in a South African hotel room. "Obviously things changed when we got in the studio, like the intro, but it felt like a '90s song to me," frontman Caleb Followill told Billboard magazine. "That's when we were listening to a lot of music, and still when we play it, we crack up the whole time, this the most radio friendly song..." According to drummer Nathan Followill, the breakdown in the song is the band's ode to Irish rockers Thin Lizzy.
Kings of Leon's confident throwback "Temple" Video. In fact, much of the Paul Greenhouse-directed vintage-style visuals mix with a no-frills performance of "Mechanical Bull" standout, which they've already given on both Jimmy Kimmel Live! and Saturday Night Live. But the song has a "by Mennen" catchiness that the unshowy presentation only boosts. And the lyric about how Caleb would "take one to the temple" is more than a reference to Kings of Leon embedding themselves in some cranial pleasure zone.
Largely washed with a vintage effect, the video was filmed half on nice modern cameras, and half on and old-fashioned hand-held Super 8 camera that makes Instagram filters shiver in their boots to posterize their footage into blurry oblivion. The new clip also serves as a nice homage to the band's hometown of Nashville and is made up of shots of the band playing the song in front of the sign on the album cover giving Caleb plenty of screen time to tell us rather over-romantically that he'd "take one in the temple" for us. Together, they evoke both the reason the Followill clan do this and the old-fashioned pride in craft with which they do it.

DJ Cassidy dancing party for "Calling All Hearts"

At any given point during a night at the club, you'll only find a fraction of the clientele actually dancing, while the rest order drinks and chat in the periphery. Unless the DJ is spinning that song - you know, that one jam that makes everyone drop what ever they're doing and rush out onto the floor. With his debut single, "Calling All Hearts," Booth newcomer DJ Cassidy was clearly angling to write that song. On this high-energy cut, the Columbia Records signee's electrifying disco boardwork bangs in the back as Grammy nominee Robin Thicke and British pop hitmaker Jessie J exercise their powers of persuasion, urging couples to get a little bit closer and wallflowers to abandon their positions on the sidelines.
Cassidy's vibrant new video for his feel good upbeat party anthem, "Calling All Hearts" is a disco inspired Dance hit with some R&B flavor and is about to be a R&B dance party! The exuberant retro song pays tribute to the golden era of Club music, and like the rest of Cassidy's upcoming debut LP "Paradise Royale," due in May, it honors the disco era of late '70s and early '80s by purposely avoiding modern studio techniques like sampling and recycling established material. "Four years ago, I set out on a mission to bring the greatest and most universal dance music of all time back to the airwaves, back to nightlife, back to the dance floor," Cassidy told Rolling Stone.
The X-directed video was shot in London and is equally epic affair, which begins and ends with a storyline that features Cassidy and a girlfriend. Initially she leaves him after forcing him to make a difficult decision, but after Cassidy enters a hat store and gets a complimentary hat, she changes her tune and they reunite. The celebrity DJ gets dumped by his girl in the black-and-white intro before he's whisked away to a pink soundstage after buying a magical hat. It's like 'The Wizard Of Oz' with a disco soundtrack!
Aiding in dancing away Cassidy's pain are pals Jessie J and Thicke, not to mention a 13-piece band in preppy sweaters jamming on a 52 square-foot flamingo-pink lacquer heart-shaped "Paradise Royal" stage, surrounded by flamboyant pink flamingos and palm trees, while Cassidy rocks the CDJ's in a lime green tuxedo jacket and his signature 1920's boater hat. The jubilant song bounds along on a pop-funk-disco euphoria, despite all the hangdog mugging that opened the video. That's because, much like chewing gum and walking, it's almost impossible to dance and mope at the same time. Watch the candy-colored visual below.