‘Vous Avez Dit Bizarre’ N°102 – Vintage 2000s Music Videos
Gwen Stefani, Jimmy Eat World, Benny Benassi, Franz Ferdinand, Mint Royale, Eminem, be your own PET, Arctic Monkeys, Gary Jules & Michael Andrews, Coldplay, My Chemical Romance, Thirty Seconds To Mars
They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (06/52) BUT… in the Noughties 2000s.
Here, they are reunited in one glorious playlist. Enjoy!
WATCH IN FULL
For TWENTY FOUR more ‘Vous Avez Dit Bizarre’ – Vintage 2000s Music Videos – week 06/52 – click here and here
AUDIO ONLY
Tracklist
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![]() 1 . Gwen Stefani – What You Waiting For?“What You Waiting For?” sprints out of the gate with a frenetic burst of electropop energy, tethered to Gwen Stefani’s anxiety-riddled lyricism that juggles self-doubt with a relentless hunger for ambition. Co-written with Linda Perry, the song doesn’t hesitate to place its insecurities front and center, dressing them up in the glittering production of Nellee Hooper and the punchy allure of G minor chords. It’s a cocktail of sonic influences—new wave shimmer, dance-rock grit, and a streak of funk pulsing beneath the immaculately glossy surface. The introduction of the Harajuku Girls as visual counterparts adds another layer to the meta-narrative, though it treads precariously on the line between cultural appreciation and appropriation. The accompanying music video, helmed by Francis Lawrence, takes the Alice in Wonderland influence to its logical extreme—a surreal tableau of tea parties and oversized mushrooms that blur fantasy with frustrated creativity. While visually overcooked in spots, the imagery mirrors the song’s central theme: untangling creative paralysis in an industry where art is often second to spectacle. Commercially, it straddles a contradiction, finding success while dissecting the very pressures that birth hits. Certifications and awards aside, its cultural resonance lies in its unvarnished portrayal of creative vulnerability, a sharp contrast to its ultra-polished, hook-heavy exterior. At its core, the track is an ode to fearing failure but clawing forward anyway—a sentiment that, for better or worse, spills across “Love. Angel. Music. Baby.” like glitter on a designer dress. Featured on the 2004 album “Love. Angel. Music. Baby.”.
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![]() 2 . Jimmy Eat World – The MiddleReleased in 2001, “The Middle” by Jimmy Eat World emerges as an anthem of steady defiance nestled awkwardly between post-grunge radio hits and pop-punk breakout moments. This track, born from the band’s scrappy finances post-Capitol Records, punches through with its lean simplicity, sidestepping overambitious production experiments in favor of clean, sharp riffs and a straightforward arrangement. Its lyrics, self-referential but broadly relatable, carry a tightrope of reassurance: “Don’t write yourself off yet,” Adkins sings, recalling the band’s own near-dissolution as fewer than 10,000 copies of their earlier album “Static Prevails” ever reached listeners. The accompanying music video, with its almost absurdist pool party in underwear, snagged heavy MTV rotation, lending lyricism a wholly visual counterpart while walking the fine line of playful and mildly provocative without veering into gimmickry. Riding its sudden momentum to number five on the Billboard Hot 100 and the top spot on Modern Rock Tracks, it manages to sound celebratory while never losing sight of its underlying tension between invisibility and emergence. Whatever it lacks in daring experimentation, it scrapes together the honesty of self-doubt wrapped in a three-minute compressed pop-rock package that resonated with millions at just the right historical moment: an unassuming anthem for underdogs everywhere. Featured on the 2001 album “Bleed American”.
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![]() 3 . Benny Benassi – No Matter What You Do“No Matter What You Do” embodies the quintessential Benny Benassi formula: hypnotic beats layered with robotic female vocals that toe the line between sleek minimalism and eerie detachment. Released in 2003 under the “Hypnotica” album, it shares its DNA with the now-iconic “Satisfaction,” but veers slightly toward a more melodic, less bombastic energy. Benassi’s penchant for repetition creates a looping groove that feels both commanding and oddly meditative, a hallmark of early-2000s European electro-house. Despite eclipsing into niche memory, its chart performance—most notably peaking at 40 on the UK Singles Chart—shows its appeal in bridging underground club culture with mainstream radio. The production, helmed by Larry Pignagnoli, leans heavily on wrenching synthetic textures, oscillating between dancefloor euphoria and mechanical sterility. While not groundbreaking in itself, the track functions as a vivid timestamp of the era’s club-centric ethos, evoking dimly lit strobe lights and endless nights. Its lack of accompanying accolades or towering cultural significance speaks volumes about its role—a dependable filler that complements the larger body of early-2000s house music but rarely outshines it. Featured on the 2003 album “Hypnotica”.
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![]() 4 . Franz Ferdinand – Ulysses“Ulysses” by Franz Ferdinand charges forward with an irrepressible swagger, rooted in angular guitars and a throbbing bassline that feels both predatory and defiant. The track, released in 2009 as part of “Tonight: Franz Ferdinand,” sidesteps the band’s early post-punk rigidity for a looser, darker energy that pulses with hedonistic allure. It’s as if the band takes Odyssean themes and filters them through a haze of late-night mischief, turning ancient voyages into a metropolitan stumble through chaotic streets and fragmented memories. The production, marked by jerky rhythms and taut layering, feels both claustrophobic and expansive, capturing a sense of nocturnal rebellion with uncanny precision. There’s a tangible tension in Alex Kapranos’s delivery, switching between languid seduction and a sharp, teasing call to action—a vocal performance that dares the listener to join the madness or simply watch it implode. Despite climbing to number 20 on both U.K. and U.S. rock charts, the song doesn’t beg for validation, instead presenting itself as a self-contained, anarchic artifact. The accompanying video, filmed in Los Angeles and stitched together with gritty surrealism, mirrors the song’s fragmented allure, blending crime-scene motifs with unhinged glamour. This narrative pairs seamlessly with the single’s cover image—a snapshot of a mock crime tableau, its noir undertones darkly playful rather than macabre. Whether remixed by Beyond the Wizard’s Sleeve for more cerebral wanderings or blasted loud in its original form, “Ulysses” offers no neat conclusions, leaving its listeners suspended between chaos and thrill. Featured on the 2009 album “Tonight: Franz Ferdinand”.
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![]() 5 . Mint Royale – Blue Song“Blue Song” by Mint Royale channels early 2000s electronic charm with a cheeky edge. Released in 2003 as part of their album “Dancehall Places,” the track has a pulsing rhythm that’s hard to ignore, though it peaked modestly at number 35 on the UK Singles Chart. The real spotlight falls on the music video, a heist narrative bursting with humor and eccentricity, directed by Edgar Wright. Here, Noel Fielding takes the wheel—literally—delivering an absurdly committed performance as a getaway driver grooving to the track while his accomplices handle a bank robbery. The video mingles the mundane with the audacious, creating a surreal tableau that feels distinctively British in its comedic delivery. It’s no surprise it went on to inspire Wright’s “Baby Driver,” particularly the iconic opening scene. Fittingly, the cast includes a who’s-who of alternative comedy with Julian Barratt, Nick Frost, and Michael Smiley adding layers of offbeat charisma. This blend of quirky visuals and upbeat electronica secures the song a niche but memorable place in pop culture’s crowded archives. Featured on the 2002 album “Dancehall Places”.
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![]() 6 . Eminem – Stan (w/ Dido)“Stan,” a gripping narrative by Eminem featuring Dido’s haunting sampled vocals from “Thank You,” unfolds as a tale of obsession taking a dark, irreversible turn. Released in 2000 on *The Marshall Mathers LP*, it pairs Eminem’s razor-sharp storytelling with Dido’s melancholic refrain, creating an eerie juxtaposition that elevates the track into a psychological case study. The song follows Stan, an unhinged fan whose written admiration morphs into toxic devotion, culminating in tragedy as he spirals out of control, a lens into fandom gone catastrophic. The accompanying video directed by Dr. Dre plays like a mini-thriller, blending claustrophobic scenes and a sense of impending doom, with Devon Sawa portraying Stan’s unraveling psyche alongside Dido’s chilling tranquility as his pregnant girlfriend. Eminem’s final verse provides a brutal twist, his delayed realization amplifying the chilling impact of miscommunication and mental instability in a parasocial bond. Praised for blurring genres and atmospheres, its live rendition with Elton John at the 2001 Grammys replaced profanity with subtle undertones but lost none of its weight, leaving a lasting moment in the rapper’s controversial career. Chart-topping across multiple countries despite its unsettling themes, “Stan” is both a cautionary tale and a cultural bookmark, cementing itself among hip-hop’s most artful works without veering into easy moralizing. Featured on the 2000 album “The Marshall Mathers LP“.
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![]() 7 . be your own PET – Let’s Get Sandy“Let’s Get Sandy” by be your own PET is a two-minute burst of untamed punk vigor that refuses to take a breather. Released on January 23, 2006, the track embodies youthful chaos, fusing snarling guitars with frontwoman Jemina Pearl’s fiercely unhinged vocal delivery. This isn’t a song built for subtlety or introspection; it’s a pulsing, raw shout that fits squarely within the early 2000s garage-punk resurgence. Clocking in at under two minutes, it has the attention span of a teenager ditching school—short, brash, and gratifyingly reckless. Its inclusion in their self-titled debut album only adds to the raucous energy of a project seemingly helmed by a band allergic to overproduction or pretension. MTV2 gave the song a platform, with its music video offering a visual parallel to the track’s blistering tempo and aesthetic grit. Their collaboration with XL Recordings ensured a slicker-than-it-seems release, though it never feels polished enough to betray its feral heart. Whether it’s the distorted riffs or the breathless pacing, the song thrives in deliberate imperfection, a messy badge of pride in an era leaning into digital precision. Performed during tours with acts like Clap Your Hands Say Yeah, it could only have stirred up mosh pits with each live rendition. “Let’s Get Sandy” is punk rock’s version of dropping a match into a gasoline barrel: loud, quick, and burning with purpose.
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![]() 8 . Arctic Monkeys – When The Sun Goes Down“When the Sun Goes Down” by Arctic Monkeys slices through the sheen of indie rock to deliver a gritty narrative about urban decay through the lens of Sheffield’s underbelly. The track’s brisk tempo of 169 beats per minute propels its storytelling, with Alex Turner’s sharp lyricism painting a stark portrait of a young woman’s predicament as she navigates a world riddled with exploitation and indignity. Set in the murky Neepsend district, the song juxtaposes biting realism against the backdrop of B major chords, crafting a palpable tension that refuses to sugarcoat its social critique. Turner’s knack for weaving vivid scenes is at peak potency here, tipping his hat to The Police’s “Roxanne” while carving his own lane of commentary on prostitution and power dynamics. Paul Fraser’s accompanying music video delivers an equally unvarnished look, with Stephen Graham and Lauren Socha delivering understated yet haunting performances drawn from a larger film, “Scummy Man.” Released as the second single off *Whatever People Say I Am, That’s What I’m Not*, the track’s unflinching gaze at its subject matter makes it more than just a catchy tune—it’s a bookmark in the social realism canon of modern British music. Featured on the 2006 album “Whatever People Say I Am, That’s What I’m Not“.
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![]() 9 . Gary Jules & Michael Andrews – Mad WorldGary Jules and Michael Andrews’ rendition of “Mad World” strips Tears for Fears’ original of its synthesized brightness, leaving behind a sobering melancholia. Anchored by a solitary piano and Jules’ hauntingly tender voice, the song morphs from ‘80s pop angst to an intimate portrait of existential despair. It’s hard to separate the track from its association with *Donnie Darko*, a film whose cult status seems to elevate the song’s air of tragic inevitability. Roland Orzabal’s lyrics, once delivered with a certain detached pizazz, seem heavier here, as if the weight of each word has tripled over time. The music video, directed by Michel Gondry, amplifies this starkness with its imaginative yet subdued cinematography—a visual echo of the song’s despondence. When this version topped the UK Singles Chart in 2003, it felt like an unorthodox victory for fragility in a music scene that often prizes bombast. Its success resides in its emotional immediacy, a rare case where minimalism amplifies impact rather than dulling it. Unlike its more frenetic predecessor, Jules and Andrews’ take is a quiet implosion, underlining the “madness” not in hysteria but in quiet resignation. Featured on the 2001 album “Trading Snakeoil for Wolftickets”.
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![]() 10 . Coldplay – Life in Technicolor iiColdplay’s “Life in Technicolor ii” shifts the band’s instrumental exploration into a full-vocal centerpiece, marrying pop-rock energy with refined world music elements. Emerging as the standout track on their “Prospekt’s March EP,” it gives a voice to the instrumental “Life in Technicolor” from *Viva la Vida or Death and All His Friends*, making it more accessible without losing its experimental edge. The persistent loop of the santoor, coupled with tabla-mimicking percussion, provides a hypnotic rhythm that refuses to cede the spotlight, even as the vocals enter with Chris Martin’s trademark earnestness. The song’s strength lies in balancing the layered, opulent production with an undercurrent of simplicity, maintaining an air of delicate optimism against a backdrop of Coldplay’s usual introspective themes. The accompanying music video leans into whimsy, with meticulously crafted puppets staging a surreal, quirky performance that serves as a tongue-in-cheek commentary on the bombast often associated with rock stardom. Widely used in TV spots and marketing campaigns, the track demonstrates Coldplay’s knack for straddling the line between artistic ambition and mainstream appeal. Ironically, the instrumental version of the song—originally the quiet shadow of its full-vocal sibling—has found enduring life in everything from Apple product launches to the London Eye’s tourist attractions, highlighting its cultural adaptability. “Life in Technicolor ii” thrives on its contradictions, offering both stadium-sized exuberance and intimate craftsmanship, serving as a reminder that sometimes the most compelling narratives come when artists double down on their curious instincts.
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![]() 11 . My Chemical Romance – Welcome to the Black Parade“Welcome to the Black Parade” stands as a theatrical centerpiece of emo’s second wave, blending bombast with introspection. Released in 2006, it channels Queen-like grandeur while espousing anthemic resilience for the disillusioned masses. The track morphs from a delicate piano intro into a full-blown rock opera, punctuated by Gerard Way’s impassioned, wailing vocals. It’s a tightly constructed narrative of loss, legacy, and perseverance, wrapped in meticulously layered production by Rob Cavallo. Lyrically, the song unfurls the story of “The Patient,” navigating existential questions through vivid, macabre imagery. The accompanying video, drenched in gothic surrealism, reinforces its dark theatricality with a marching band from the afterlife. Rooted in emo, pop-punk, and alt-rock, it’s simultaneously polarizing and revered, often teetering on the edge of melodrama. Critics frequently praise its ambition, though some scoff at its near opera-like self-seriousness. Whether celebrated or critiqued, it remains a defining time capsule for mid-2000s rock theatrics. Featured on the 2006 album “The Black Parade“. |
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![]() 12 . Thirty Seconds To Mars – From Yesterday“From Yesterday” by Thirty Seconds to Mars stands out as a 2006 alternative rock track that flirts with grandiosity while teetering between gritty introspection and polished theatrics. Clocking in at 4:08, its layered production helmed by Josh Abraham creates a swirling narrative of angst, with Jared Leto’s soaring vocals alternating between restrained tension and full-throated declarations. The guitar work from Tomo Miličević adds texture, while Matt Wachter’s contributions on bass, keyboards, and synthesizers provide a cinematic undercurrent that complements Shannon Leto’s robust drum patterns. What truly amplifies the song is its accompanying video—a visual indulgence shot entirely in China, audacious in scope with 400 soldiers and a smattering of horses populating borrowed imperial grandeur from locations like the Forbidden City. Drawing heavy inspiration from “The Last Emperor,” the video fuses historical pomp with the band’s flair for the dramatic, a juxtaposition that is both outlandishly ambitious and somehow fitting. The three cuts of the video—from the feature-length 13.5-minute version to more digestible edits—speak to the band’s sprawling ambition, unwilling to settle for mere radio-friendly brevity. On the charts, the track reached a pinnacle by claiming the number one spot on Billboard’s Modern Rock Tracks, a feat signifying their arrival, though one tinged with a certain calculation. Ironic yet exhilarating, the song encapsulates the tension between the deeply personal and the overtly performative—a portrait of a band grappling with its place in the pantheon of 2000s rock. Featured on the 2005 album “A Beautiful Lie”.
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