Radiohead wiped their entire online presence before the release of their ninth album A Moon Shaped Pool, but they’ve done a solid job of building it up again.

The band have been most active on Instagram, where they’ve posted regular images by visual collaborator Stanley Donwood and a series of short video vignettes, each of which saw a different director respond to a track from the album over the course of a few months.

According to the band, who posted Grant Gee’s visual for ‘The Numbers’ today (July 8), the “current series” has run its course. Featuring videos by comedian Adam Buxton, High-Rise director Ben Wheatley, The Lobster director Yorgos Lanthimos and more, we’ve rounded them all up to save you trawling through Instagram pictures of “mysterious artwork”.

It’s not clear if this is just the first in a series of videos, but for the time being, consider this the definitive visual accompaniment to A Moon Shaped Pool along with Virpi Kettu’s ‘Burn The Witch video and Paul Thomas Anderson’s clip for ‘Daydreaming’.

‘Glass Eyes’
Dir: Tarik Barri

AV artist Tarik Barri has been providing visuals for Thom Yorke’s solo performance over the past few years, creating his own software using tools including Max/MSP, Java and Supercollider to create responsive visual textures. His vignette for ‘Glass Eyes’ shifts in colour until it glistens like the surface of the title.

‘The Numbers’
Dir: Oscar Hudson

London director Oscar Hudson is arguably the least known of the directors chosen by Radiohead, but his take on ‘The Numbers’ is one of the most visually striking. Framed like a surreal portrait, sand pours through the ceiling of a dilapidated bedroom and covers a bed while the tenant sweeps up debris with a dustpan and brush unaware. It’s very Charlie Chaplin.

‘Desert Island Disk’
Dir: Adam Buxton

If you remember the Star Wars figure soap operas from The Adam & Joe Show, the punchline to UK comedian Adam Buxton’s video for ‘Desert Island Disk’ will probably have you imagining a drunk Obi-Wan Kenobi shouting at the television.

‘Identikit’
Dir: Michal Marczak

Polish director and recent Sundance award-winner Michal Marczak sets the scene for entire movie with his visual for ‘Identikit’. The black and white video takes the song’s agitated music and sets it to a short Hitchcock-inspired thriller in the vein of The 39 Steps that will have you on the edge of your seat.

‘Glass Eyes’
Dir: Weirdcore

Another AV artist, Weirdcore has worked with everyone from Simian Mobile Disco to M.I.A.  His vignette for ‘Glass Eyes’ creates the perfect loop, turning a transparent interior into a day-night timelapse.

‘Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief’
Dir: Richard Ayoade

Submarine director and The IT Crowd actor Richard Ayoade’s ‘Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief’ video gets closer than the rest to capturing the surreal and chilling Britishness that Stanley Donwood represented on the hidden booklet inside the jewel case of Kid A. It’ll probably also remind a certain generation of this ‘90s UK comedy sketch.

‘Identikit’
Dir: Yorgos Lanthimos

Yorgos Lanthimos’ short clip for ‘Identikit’ is just as surreal as his offbeat film The Lobster. In the vignette, a man sits in a diner and eats an invisible sandwich. Much like The Lobster, it’s ridiculous, but also incredibly poignant.

‘Ful Stop’
Dir: Ben Wheatley

There’s not much to connect Ben Wheatley’s ‘Ful Stop’ clip to High-Rise, Kill List or A Field In England, but the grim British location and black humour is a lot like his serial killer comedy Sightseers. Maybe it’s the invisible strings a la ‘Weapon of Choice’, but it brings to mind some of Spike Jonze’s music videos.

‘The Numbers’
Dir: Grant Gee

Responsible for Radiohead’s 1998 documentary Meeting People Is Easy, Grant Gee reunites with the band on a very candid visual for ‘The Numbers’. Filmed in the Welsh city of Port Talbot, whose steel industry has been under threat for several years, it paints an honest and respectful picture of Britain’s post-industrial decline.

Read next: How do Radiohead’s resurrected songs on A Moon Shaped Pool compare to the originals?