‘Vous Avez Dit Bizarre’ N°538 – Vintage 2000s Music Videos
Breed 77, Delerium, Supergrass, Reuben, Cut Copy, Incubus, The Psychedelic Waltons, Test Icicles, The Used, The Good. The Bad And The Queen, Mercury Rev, Placebo
They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (05/52) 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 05/52 – click here and here
AUDIO ONLY
Tracklist
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![]() 1 . Breed 77 – Shadows“Shadows” by Breed 77 melds the raw intensity of flamenco metal with a slice of introspective turmoil, crafting a soundscape that’s both jagged and hypnotic. Emerging from the band’s self-titled debut album, the track exudes a rhythmic pull, blending soaring guitars with a gritty undercurrent of lyrical vulnerability. Released as a single in 2005 and produced by Paul Hoare, “Shadows” manages to feel both deeply personal and explosively theatrical, a balancing act not every act of its ilk successfully lands. The hauntingly dark visuals of the accompanying music video amplify its themes of internal battles, creating a cinematic aftertaste that lingers long after the music stops. The song’s chart performance, peaking at number 42 on the UK’s Official Singles Chart and holding an impressive 19 weeks on the Rock & Metal Chart, points to its resonance within its genre circles without veering into overexposure. Part of the broader narrative of Breed 77’s evolution, “Shadows” exemplifies a band unafraid to splice bold cultural elements into a traditionally rigid genre, coaxing the listener toward new sonic possibilities. Still, the polished production occasionally tugs against the track’s raw thematic edges, leaving one to wonder if a more stripped-down approach could have amplified its primal undertones. Breed 77, bolstered by their early recognition as trailblazers within the unsigned ranks of the late ’90s, continue to walk the razor’s edge between flamenco artistry and metal bombast, and “Shadows” stands as a testament to their ability to bridge these two seemingly disparate worlds without losing their footing. Whether it’s the flamenco-inspired guitar flourishes or its unapologetic nods to inner conflict, “Shadows” delivers an offering that feels unapologetically Breed 77—unorthodox but undeniably magnetic. Featured on the 2000 album “Breed 77”.
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![]() 2 . Delerium – Heavens Earth“Heaven’s Earth” is not just another trance track; it’s a journey into atmospheric euphoria, drenched in ethereal vocals by Kristy Thirsk. Released on December 10, 1999, it rides on the coattails of Delerium’s breakout hit, “Silence,” but manages to carve out its own space within the late ’90s electronic zeitgeist. The original album cut, sprawling at 8 minutes and 16 seconds, feels like a sonic cathedral, each layer reverberating with ambient textures. Matt Darey’s remix trades the ambient stillness for urgent, dancefloor-ready energy, while the Key South versions add a distinctly hypnotic dimension to the mix. No music video accompanies the song, which feels ironic given its visual, almost cinematic aura. Still, its chart performance, peaking at 21 in Ireland, 44 in the UK, and 20 on the U.S. Billboard Hot Dance Club Play chart, proves that auditory immersion can sometimes outperform pop polish. Listening to “Heaven’s Earth” today feels timeless—it’s escapism sculpted in sound, neither bound by era nor genre. Featured on the 1997 album “Karma “.
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![]() 3 . Supergrass – Seen The Light“Seen the Light” saunters in with a burst of jaunty indie rock energy, capturing Supergrass at their quintessentially British best. Released in 2003 as part of the album “Life on Other Planets,” the track blends breezy melodies with a buoyant rhythm section, underpinned by just enough swagger to keep things interesting. Thematically, the song toes the line between self-discovery and pure exhilaration, reflecting a band leaning into their more playful tendencies without losing their edge. The accompanying video, directed by Simon Hilton, channels this spirit with vivid, kaleidoscopic imagery, matching the song’s sense of unfussy joy. Commercially, it etched out a modest spot on the UK Singles Chart at number 22, falling just shy of broader international impact despite the album’s respectable performance. Not groundbreaking, but undeniably engaging, “Seen the Light” wraps its charm in a nostalgic package, reminding listeners of the band’s knack for combining wit and warmth. Featured on the 2002 album “Life on Other Planets”.
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![]() 4 . Reuben – Lets Stop Hanging Out“Let’s Stop Hanging Out” by Reuben balances raw energy with sharp, introspective lyrics that touch on frustration and moving on from strained relationships. The 2004 track channels alternative rock grit, featuring punchy guitar riffs and an underlying edge that encapsulates the band’s signature sound. Lyrically, the song encapsulates themes of independence and emotional severance without melodrama, positioning it as both cathartic and refreshingly direct. This single finds its place on the posthumous compilation *We Should Have Gone To University*, a gathering of b-sides and lesser-known gems in Reuben’s discography. Despite its potential to reach a broader audience, “Let’s Stop Hanging Out” reflects the band’s frustration with an industry that never truly gave them their due. Frontman Jamie Lenman’s unmistakable vocals carry both urgency and charisma, lending the track a distinct identity within its genre context. The music video for the song mirrors its unpolished, gritty style, emphasizing an authentic rather than overproduced tone. Though Reuben’s commercial breakthrough remained elusive, tracks like this stand as stark reminders of their knack for creating memorable, nuanced rock anthems. Featured on the 2004 album “Racecar Is Racecar Backwards”.
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![]() 5 . Cut Copy – Going Nowhere“Going Nowhere” by Cut Copy doesn’t so much unfold as it glides—an electro-synth concoction from 2005 that feels tailor-made for the hazy palette of mid-2000s indie electronica. It slots neatly into the band’s debut album, “Bright Like Neon Love,” a title that could just as easily describe the song’s retro, neon-lit pulse or its introspective yearning. The track leans heavily on gleaming synthesizers and understated vocals, evoking a sense of melancholic stasis, its themes hanging between longing and inertia. The Kris Moyes-directed video amplifies these vibes with visuals that straddle abstraction and nostalgia, the kind of thing that looks like it was destined to be replayed on early YouTube loops during quiet nights in urban apartments. A Digitalism remix offers a rougher-edged reinterpretation, suggesting some elasticity in its appeal, but the core remains an ode to transitional moments that refuse to budge. Chart success may have eluded this track, but its foothold in the indie-electronic zeitgeist of the era remains intact. Featured on the 2004 album “Bright Like Neon Love”.
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![]() 6 . Incubus – Megalomaniac“Megalomaniac” swings in with a scratchy, cyclical warble that plants a flag of unease before exploding into a heavy rock riff. The push and pull of its mellow verses and pounding chorus create a dynamic tension that mirrors its loaded lyrics, critiquing arrogance and hubris with a sharp tongue. Incubus crafts a track that feels equally energizing and confrontational, marking a defiant turn from their earlier work. The accompanying music video, helmed by Floria Sigismondi, leans heavily into imagery that juxtaposes dystopian landscapes with historical and contemporary symbols of power gone awry. Its provocative use of figures like Adolf Hitler and George W. Bush stirred enough controversy to earn an unofficial MTV daytime ban, bolstering the track’s rebellious aura. The production, overseen by Brendan O’Brien, ensures every element is polished yet raw, particularly Mike Einziger’s guitar work, which alternates between jagged aggression and spacious flourishes. If the song’s sound doesn’t grab your attention, the message surely will—a ferocious critique tailor-made for an era grappling with the double-edged blade of authority. Featured on the 2004 album “A Crow Left of the Murder…”.
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![]() 7 . The Psychedelic Waltons – Wonderland“Wonderland” by The Psychedelic Waltons blends Róisín Murphy’s crystalline vocals with trippy production, crafting a sonic landscape that teeters between ethereal innocence and restless eccentricity. The 2001 single, a non-album oddity, offers a peculiar mix of indie pop and electronic flair, capturing a moment where experimentation trumped commercial bombast. Chart figures tell a modest success story—ranking 41 in Ireland and 37 in the UK, hinting at niche appeal rather than mass adoration, though its 15th position on Belgium’s Tip chart suggests an ear for bold regional quirks. The song’s lyrics, steeped in themes of imagination run loose, are accompanied by a melody that marries gentle whimsy with undercurrents of edge, never veering into saccharine territory. Murphy’s collaboration here stands out—not as a seismic event in her discography but as an intriguing detour, a playful meeting of understated pop oddities. The vinyl release adds a tangibility to a track otherwise adrift in the ephemeral streams of early 2000s experimental music, its scarcity cementing it as a curiosity among collectors. Yet what “Wonderland” lacks in spectacle, it compensates for with nuance—a quiet meeting of modest ambition and quirky execution. The absence of standout awards or ubiquitous cultural resonance leaves the track comfortably nestled in the “what could have been” corner of music history, living on through patchy YouTube archives and Discogs listings. For all its quirk, there’s a tension in its indecisiveness—part pop, part experimental indulgence—yet that friction is where the song finds its most interesting moments, however fleeting those may be.
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![]() 8 . Test Icicles – What’s Your Damage?Test Icicles’ “What’s Your Damage?” fuses riotous energy with an off-kilter charm, epitomizing the band’s chaotic but calculated approach to genre-blending. Clocking in at 4:09, it sits comfortably within the dance-punk ethos, but flirts with post-hardcore aggression and avant-pop eccentricities, making its identity deliberately slippery. The track’s lyrics teem with sardonic wit, capturing a mood of defiance against something—or perhaps everything—in true punk fashion. Released as part of *For Screening Purposes Only* on Halloween 2005, the timing feels apt for such an unsettlingly kinetic piece, akin to a musical sugar rush after too much trick-or-treating candy. Critics largely embraced this unruly debut, with notable publications like NME and Pitchfork begrudgingly tipping their hats, though not without acknowledging the band’s penchant for teetering on the edge of chaos. The accompanying video underscores the song’s raw attitude, saturated in a jagged aesthetic that suits the band’s short-lived yet impactful run. If Test Icicles were a storm, “What’s Your Damage?” would be the unapologetic thunderclap, rumbling one last time before their abrupt disbandment just months later. Featured on the 2005 album “For Screening Purposes Only”.
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![]() 9 . The Used – Take It Away“Take It Away” by The Used bursts out of the gate as a fierce anthem drenched in early 2000s emo angst. Propelled by Bert McCracken’s raw, desperate vocal delivery and the jagged, unrelenting guitars of Quinn Allman, it captures a volatile, unfiltered energy. Recorded in the heart of LA and shaped under the experienced hand of producer John Feldmann, the track channels anguish while balancing it with just enough precision to avoid chaos. Its rhythmic backbone, courtesy of Branden Steineckert’s intense drumming and Jeph Howard’s pounding bass, drives the emotional weight home with thunderous authority. The lyrical themes linger on a knife’s edge between despair and catharsis, aligning perfectly with the mood of “In Love and Death.” The accompanying music video, dripping with a theatrical yet gritty aesthetic, underscores the song’s ferocity without becoming overwrought. Though the track charted modestly, peaking at 13 on the US Alternative Airplay chart, its true power rests in its ability to resonate with a generation steeped in the turmoil of emo’s heyday. Far from polished or overly refined, this moment of unbridled intensity secures its place as a snapshot of a raw, emotionally charged era. Featured on the 2004 album “In Love and Death”.
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![]() 10 . The Good. The Bad And The Queen – Kingdom Of Doom“Kingdom of Doom” by The Good, the Bad & the Queen offers a bleak, yet strangely comforting, meditation on societal malaise. Written by the notably eclectic Damon Albarn and performed by a supergroup featuring Paul Simonon, Simon Tong, and the late Tony Allen, the track serves as a brooding reflection on modern life’s disillusionments. Danger Mouse’s production underlines the song’s haunting texture, wrapping Albarn’s melancholic voice in atmospheric keys that oscillate between organ warmth and synthesizer chill. The bass riff, courtesy of Simonon, is reliably sturdy, grounding the song’s more ethereal elements, while Tony Allen’s percussion adds a loose, almost hypnotic swing that never overwhelms its deliberate pace. The lyrics paint a dreary portrait of a deteriorating world with a resigned British wit, as Albarn mutters, “Drink all day ’cause the country’s at war.” This apocalyptic poetry is beautifully offset by an understated, almost pastoral melody that feels at odds with its thematic weight, creating a strange but compelling contradiction. The accompanying music video leans into this somber narrative, pairing murky visuals with an aloof atmosphere, enhancing the song’s introspective charm. Commercially, it may have peaked modestly at number 20 on the UK Singles Chart, but “Kingdom of Doom” remains less about chart dominance and more about delivering quiet significance in chaos. In the end, it’s a track that flickers between gloom and poignancy, leaving the listener stranded in a peculiar emotional twilight, much like the world it describes. Featured on the 2007 album “The Good, the Bad & the Queen”.
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![]() 11 . Mercury Rev – The Dark Is Rising“The Dark Is Rising” by Mercury Rev straddles the line between dream-pop enchantment and sweeping orchestral drama. Released as part of their 2001 album “All Is Dream,” the track leans heavily into cinematic grandeur, with lush arrangements that feel almost operatic in scope. Layers of strings, haunting keys, and fragile vocals evoke an otherworldly atmosphere, while the lyrics, tinged with longing and introspection, paint a vivid emotional landscape. Lines like “I dreamed of you on my farm, I dreamed of you in my arms, but dreams are always wrong” ripple with melancholy, encapsulating the heartache of elusive desires. The song’s title refrain, “And now the dark is rising,” suggests an impending transformation, underscored by the brooding instrumentation that ebbs and flows with a captivating sense of urgency. Mercury Rev crafts an experience that feels suspended between ethereal beauty and an overwhelming sense of loss, a hallmark of their layered and intricate artistry. |
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![]() 12 . Placebo – Running Up That Hill [A Deal With God]Placebo’s rendition of “Running Up That Hill [A Deal With God]” swaps the ethereal shimmer of Kate Bush’s 1985 classic for a brooding, stripped-down aesthetic. Released in 2003 as part of their “Covers” album, Brian Molko’s distinct falsetto cuts through a minimalist arrangement, leaning heavily on plaintive piano and muted percussion. This version eschews Bush’s atmospheric grandiosity for a stark melancholy, recasting the song’s desperate yearning into something colder and more quietly unsettling. While Bush’s original pulses with a propulsive urgency, Placebo slows the tempo, letting the spaces between notes evoke a mounting tension. The cover’s eerie tone finds its footing in the emotional guts of the lyrics, unearthing a darker undercurrent of sacrifice and longing that differs significantly from its predecessor. The track re-entered the cultural radar in 2022, riding the wave of the original’s Netflix-enabled revival, yet Placebo’s take stands apart as less cinematic and more claustrophobic. Not quite a reinvention nor a replication, this work sits at the crossroads of homage and reinterpretation, cementing its status as a gothic take on an iconic piece. Featured on the 2003 album “Covers “.
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