This week we’ve got new clips from Depeche Mode, James Blake, Beyoncé, Calvin Harris, Princeton, and Alcoholic Faith Mission. The Depeche Mode clip is directed by Patrick Daughters. He’s one of my favorite directors, but it looks like he’s been focusing on commercials more and more. The Alcoholic Faith Mission video has been out for a while, but I thought it’d be nice to include it along with Blake’s video. They both show how rituals provide comfort or satisfy curiosity. Watch all the clips below:

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The best videos this week include new clips from Sleigh Bells, Cloud Nothings, Talib Kweli, No Age, and Warm Ghost. It’s too bad Sleigh Bells’ video didn’t come out last week — it would have fit the theme of inter-band violence. Maybe being in a two-person band means you can only take your anger out on one other person? But the “Rill Rill” video is far from the most violent this week (and that’s including the No Age video, which includes a behanding). That distinction goes to South Central’s “The Day I Die.” It’s shot through the crosshairs of riffle, as the gunman blows away a parking lot full of young people. Say the filmmakers: “We wanted to create a video which on different levels was a spectacle in itself. We leave it to the audience to evaluate their own emotional response to the ‘spectacle before your eyes’ — it might be awe, disgust, amusement, shock etc.” I included it because it reminded me of the discussion around the “Born Free” video — is it violence pretending to be commentary on violence?

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In this Patrick Daughters-directed clip for “Fever Dreaming” No Age’s Dean Spunt and Randy Randall relax in their warehouse living room until the walls start closing in, destroying Everything In Between.

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Ed Droste’s behind-the-scenes photos suggested frequent Feist director Patrick Daughters was taking Grizzly Bear to church for “Two Weeks.” True. But the video for the Veckatimest standout (though, some would argue all of it’s a standout) is not what we were expecting. Don’t wanna give too much away, but prepare for a mind explosion. (Sorry, no surprise appearance by Victoria Legrand.)

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“1234” and “My Moon My Man” man Patrick Daughters teams up with Feist one more time, and again demonstrates his fear of wasting film with another awesome, one-take clip of lovely Leslie, feeling it all in a field of trash cans and fireworks, stickin’ it to ‘em. And, just like that, we’re feeling a Miss Indie dynasty in the works. Warning: The adorability factor runs high with this one.

The Reminder is out via Interscope.

Liars may not be a thematically epic collection ala Drum’s Not Dead, but we love it all the same — wedding dance-punk to a darker post-Kraut vibe, including psych-pop freak-outs, and the odd Spector-styled wall of sound. Lift off comes via the raging “Plaster Casts Of Everything,” the lead track and first single, which gets vid-treatment from indie-friendly director Patrick Daughters. All three of our young liars are projected into the driver’s seat at the start, giving a Scanner Darkly-type facial effect to the proceedings, though things really get weird when Angus’s mouth spews spectral visions onto the highway. NSFW set, there are some boobs in there — though your co-workers will probably be more freaked by the visuals than offended by the mammaries. If they don’t like it, call the karma police.

Conor once again enlists the estimable Patrick Daughters to produce his vid for a standout from Cassadaga, and Oberst is granted his request that this studio-performance clip kindly not include a trash-chucking crowd thank you very much. But Daughters does bring back the tight, Bright face shots; swells the ranks of Oberst’s Eyes to include a sweet string section; and keeps ‘em all in their tour-standard white-on-white. Conor won’t confess to being “fucked” this go around, so crank it up and let the kids in the room, as long as seeing Conor’s locks won’t be too traumatizing for them.

Feist has ambition. The New York Times has a piece profiling Leslie’s rise, direction, impending stardom, offering cute quotes (“I’m on the archaeological dig to find the place where my heart ended up”), noteworthy facts (sorry guys, she’s dating fellow BSSer Kevin Drew) and getting some backstory from one of Feist’s closest colleagues, Canadian keyboardist Jason Charles Beck (a.k.a. Chilly Gonzales). The NYT details the duo’s shared history: Feist and Chilly (along with Peaches) toured Europe together shortly after Monarch was released in ’99 (the two rapped together while on that trek), and Gonzales would go on to produce both Let It Die and The Reminder.

And this is a perfect opportunity to suggest Gonzales’s ’05 release Solo Piano. The instrumentation is just what the title suggests, and there’s no need for accompaniment; Beck’s classical comps are serene and cinematic throughout. Stream it here and relax.

The article also talks up Feist’s single-shot, choreographed vid for “1 2 3 4” that we posted last week, and she’s already got another clip of the same: one shot, lots of dancing, Leslie looking lovely — but this time she’s on an airport’s moving walkway. Yeah, we know what that reminds you of.

Feist’s choreographed clip for “1234″ is, obviously, totally and completely endearing. At this point, what it would it take for everyone not to love everything she does? Seriously, that’s a question. Maybe a few more of those vertigo-inducing human domino scenes? We’re at a loss, Leslie. (And a little dizzy.) Patrick Daughters directs:

Bright Eyes enlisted the directorial savvy of Patrick Daughters (who has helmed vids for The Shins, YYYs, Kings Of Leon, Death Cab) for the first from Cassadaga. The clip’s protagonist and his band (including a harmonizing Maria Taylor on drums) antagonize a country fair type crowd with the sorta music that really oughta make the audience square dance or whatever. Instead, the punters begin chucking trash at poor Oberst. Either it’s symbolic of how he’ll just never be accepted by traditionalists like he should be, or the extras weren’t feeling the long hair.