IT’S not often that I get to spend the day on the set of a music video shoot.

It is two weeks before the general election and I find myself in a disused mansion in south Kensington as indie rock band Kasabian are filming the video for their new single Bless This Acid House.

The theme of the film is gentrification, something that legendary music director Wiz tells me is a growing problem in London and other parts of the country.

I never find out Wiz’s real name. In all honesty, I didn’t really want to ask in case it blew away illusions of coolness.

Proudly sporting a Vote Labour badge, he tells me over tapas in a nearby restaurant that the general election is “hugely important for socialism.”

Wiz is a supporter of Labour leader Jeremy Corbyn. “He’s what the world has been waiting for, or at least what British politics has been waiting for.

“He’s not been tarnished by the expenses row and the collapse of faith in politics,” he tells me in between sips of apple juice.

We speak about how Corbyn has connected with young people and the importance of music and culture in society.

“Austerity culture means that young people have no creative space any more.”

A few days prior to our meeting, Corbyn had appeared on stage in front of 20,000 people at a Libertines gig with the crowd chanting his name.

Very different to the so-called “Cool Britannia” that Tony Blair attempted to embrace in the 1990s when really it felt like he was more of a gatecrasher.

Wiz says about the theme of the video: “One has to acknowledge Kasabian. They are not overtly a political band but they are a band of the people.”

He is scathing when it comes to the mainstream media. He says he tells people: “Don’t be intimidated by the mass media — that’s what they want.”

But he saves his worst for the BB C: “I think they have been shameful in their portrayal of Corbyn. They are a disgrace,” he tells me.

The concept for the video came from Wiz’s own experience when he was renting a flat a number of years ago.

He tells me how he came back one day to find his window had been covered up by a giant advertising hoarding.

“Is there no limit and no shame on how far advertising will dehumanise us?” he says. “I came back from the pub one Friday to find an advert for Windows covering my window.”

Wiz says that he decided to cut a hole through the advert from the inside and turned it into a film called Daylight Robbery.

“We held a street party with music and all sorts, inviting loads of journalists,” he says.

“Then I cut through the ad with a saw and let off some rockets.”

He says that this incident, along with the lyrics of the song, inspired the theme for the Kasabian video.

“I wanted to explore the meanings of what is a house, what is home, what is shelter. I made the connection with this idea.

“Gentrification is a fundamental aspect of unbridled capitalism, the pornography of capitalism, if you like. It is viperous and destructive, decimating culture … places become deserts.”

For Wiz, the gentrification of London reminds him of Macbeth.

“There’s a quote in the play: ‘The day that the forest starts to move will be my downfall.’ Of course a forest doesn’t move but they cut the trees down,” he says.

“In London the horizon is perpetually buzzing with these crane insects advancing unstoppably.”

He has hope for the future, whatever the outcome of the election.

“The beauty of resistance is you can’t predict it,” he tells me.

“A four-minute video can be very potent. This video will be seen by two million people in the first month.

“I feel that if you are not engaging or there’s no substance to what you are doing you are collaborating with mediocrity.”