Chosen by DJ Monk (and his little helper)

The Uber Rock Approved stampWe had a bit of a helping hand when it came to choosing our latest ‘Video Of The Week’, as our 11-year old grand-daughter was staying over at ÜRHQ, and she decided it would be a cool idea to make her first contribution to the site. And, so, down she sat and watched each and every one of the 70-odd videos that had come our way over the past seven days, initially whittling them down to down to a shortlist of ten entries and then agreeing our final selection.

And top of her pile came ‘Plague Peasant’ from Finnish melodic death metallers Torchia. She was drawn to the storyline which unfolds as the video progresses, and impressed with the way in which it matched the lyrical theme of the black death (quite appropriate in the current circumstances), as well as the fact that was shot in black and white mirrored the darkness of the song… The track is taken from the band’s new album, ‘The Coven’, which is being released on 27 March via Rockshots Records.

Our next selection comes from Newcastle noiseniks Pigs Pigs Pigs Pigs Pigs Pigs Pigs, and their new single, ‘Rubbernecks’, which comes complete with a somewhat surreal clay motion video, inspired by the painting ‘The Harrowing of Hell’ by Hieronymous Bosch. Director Rafael Bonilla, Jr. says of the video: “[It] is about the band being trapped in limbo and forced to perform in a circus for the dead kids that reside there. They are watched over by a clown that kills them off one by one, kind of like a slasher film, which entertains the kids more than the circus acts.” ‘Rubbernecks’ is taken from PigsX7’s third album, ‘Viscerals’, which is due for release on 3 April through Rocket Recordings.

Our third and final choice for this week comes from ÜR faves Hands Off Gretel, and their new single ‘She Thinks She’s Punk Rock ‘n’ Roll’, taken from their recently released ‘The Angry EP’. While it’s primarily a performance piece, our guest judge was impressed by Lauren Tate’s bouncy energy, and thought that the video perfectly captures the infectious nature of the song itself: