‘Vous Avez Dit Bizarre’ N°545 – Vintage 2000s Music Videos

Coheed And Cambria, Matchbox Twenty, Span, R.E.M., Wheatus, Oasis, t.A.T.u., Bullet For My Valentine, Idlewild, Mew, The Fray, M83

They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (07/52) BUT… in the Noughties 2000s.

Here, they are reunited in one glorious playlist. Enjoy!

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Tracklist

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1 . Coheed And Cambria – The Suffering

Coheed and Cambria’s “The Suffering” from their 2005 release *Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness* balances progressive ambition with a radio-friendly sheen that feels almost brazen for a band rooted in concept-heavy rock.

The track pivots on Claudio Sanchez’s piercing vocals, which oscillate somewhere between urgency and theatricality, paired with guitars that straddle heavy metal crunch and melodic accessibility. Michael Todd’s basslines anchor the swirling arrangements, while Josh Eppard’s drumming keeps the chaos just contained enough to propel the song into its glossy hook without losing its weight. Sarah Kathryn Jacobs’ backing vocals subtly soften the mix, adding texture without veering into excess.

Chart performance suggests the song managed to translate its hybrid ethos to a broader audience. Cracking the Billboard Bubbling Under Hot 100 at number 10, alongside placements at number 29 on US Mainstream Rock and number 16 on US Alternative Airplay, signals its ability to appeal to rock traditionalists and those with a taste for something edgier. Its number 4 peak on the UK Rock & Metal Chart shows that this blend resonated beyond the States.

Jordan Blum’s description of the track as “instantly appealing and unforgettable” pinpoints its strengths: polish without succumbing to simplicity. Yet, its catchiness might betray its conceptual roots for those invested in *The Amory Wars’* sprawling narrative. The supposed complexity feels more implied than fully realized, highlighting the constant tension in Coheed and Cambria’s catalog—between storytelling ambition and pop accessibility.

The Gold certification from the RIAA underlines the song’s commercial success, though the inclusion of live tracks and a music video in its release suggests a band still willing to lean on auxiliary elements to drive engagement. Whether this undercuts the song’s standalone strength or simply enhances its allure remains the key question; either way, “The Suffering” finds its footing as a carefully calibrated piece of progressive-pop alchemy.


Featured on the 2005 album “Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness”.

Lyrics >> Review >> More by the same : Official Site

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2 . Matchbox Twenty – Disease

“Disease” from Matchbox Twenty’s 2002 album “More Than You Think You Are” straddles the line between rock radio accessibility and a certain ambitious polish.

The song’s co-writing credit from Mick Jagger bears a hint of intrigue, though its polished angst feels grounded firmly in Rob Thomas’s wheelhouse, which even Jagger himself seemed to recognize when he handed the track back to Thomas.

Musically, the track leans on a driving yet unthreatening arrangement, bolstered by Matt Serletic’s meticulous production, while the backing vocals from Vaneese Thomas and Lydia Mann-Jaime lend a sleek depth to the sound without being particularly assertive.

The lyrics probe personal torment—“Disease” isn’t subtle about its thematic metaphor—but the delivery treads more on the earnest than the revelatory, landing closer to Thomas’s familiar emotional terrain than anything particularly innovative.

The music video, directed by Phil Harder, amplifies the song’s urban edge with expeditiously odd visuals of a roller-skating man navigating New York City, which juxtapose against the band performing on an open-air roller rink surrounded by a dancing crowd, making for an almost surreal visual cocktail that skates dangerously close to gimmickry.

Charting respectably yet modestly at number 29 on the US *Billboard* Hot 100, it’s a track that resonates more with existing fans than breaks new ground globally—evidenced by a middling number 50 peak in the UK.

Recording the track in Bearsville Studios and The Hit Factory in New York, matched with mastering at Marcussen Mastering in Hollywood, underscores the thorough professionalism behind the band’s work, yet the result feels more competent than wildly captivating.

To its credit, “Disease” captures Matchbox Twenty’s tightly curated rock image, and contributions from band members like Kyle Cook’s lead guitar and Paul Doucette’s percussion add layers. Still, its polished intensity occasionally feels like it’s searching for a grittier authenticity it never quite finds.


Featured on the 2002 album “More Than You Think You Are”.

Lyrics >> More by the same : Official Site

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3 . Span – Don’t Think The Way They Do

“Don’t Think The Way They Do” by Span is a track that briefly flirted with mainstream recognition, debuting on the UK Singles Chart on February 15, 2004, where it peaked at number 52 before fading out after a solitary week. A fleeting moment, but enough to etch its name into the annals of early-2000s rock curiosities.

Pulled from their 2003 album “Mass Distractions,” the single showcases the short-lived output of a Scottish band assembled in 2002, intriguingly combining members from Biffy Clyro and Aereogramme. While such a pedigree might evoke expectations of intricate songwriting or boundary-pushing production, “Don’t Think The Way They Do” veers toward a more traditional rock sensibility, steering clear of any overt experimentation suggested by its lineup’s origins.

Lyrically, the track suggests an independent mindset symbolized in the title, but whether it delivers profound insights or circles around generalities is up for debate. Musically, its rock framework is solid yet unspectacular, showing the work of a competent band wrestling with a desire to carve out a distinct sound in a crowded genre landscape.

For a band with such limited output, the release encapsulates a moment of potential rather than the fulfillment of it. The chart performance, although modest, hints at a spark that Span couldn’t sustain long enough to grow into something larger. “Don’t Think The Way They Do” serves as a snapshot of a band that, for all its promise, remained an intriguing asterisk in the broader story of Scottish rock.


Featured on the 2003 album “Mass Distraction “.

Lyrics >> More by the same : Official Site

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4 . R.E.M. – Supernatural Superserious

“Supernatural Superserious,” the lead single from R.E.M.’s fourteenth studio album “Accelerate,” is an intriguingly layered track that struggles to fully break away from the weight of its own ambitions.

Released in early 2008 following an unapproved radio premiere, the song positions itself as a narrative of adolescent awkwardness—a teenage séance gone awry spun into a broader commentary on humiliation’s residual sting.

Michael Stipe’s vocal delivery injects both urgency and introspection, his signature tone lending gravitas to lyrics steeped in wistful embarrassment.

The band’s instrumental core—Peter Buck’s bristling guitar work, Mike Mills’s steady bassline, and Bill Rieflin’s precise drumming—crafts a sound that is unmistakably R.E.M., though it lacks some of the textural nuance of their earlier efforts.

There’s a tautness in “Accelerate” as an album, a deliberate compactness likely intended to counterbalance the languid sprawl of prior releases like “Around the Sun,” but “Supernatural Superserious” neither soars melodically nor burrows deep enough lyrically to linger long-term.

Mainstream success proved elusive, with the track falling short of noteworthy chart positions despite *Accelerate*’s commercial highs, such as hitting number one on the UK Official Album Downloads Chart and number two on the U.S. Billboard 200.

While it is admirable in its aim, Stipe’s claim that it ranks amongst their finest creations feels overly generous—it operates better as a solid entry in their extensive catalog than a standout.

For a band that’s epitomized alt-rock evolution since their 1980 formation, “Supernatural Superserious” seems content to recycle familiar motifs without revolutionizing the terrain.


Featured on the 2008 album “Accelerate“.

Lyrics >> More by the same : Official Site

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5 . Wheatus – Teenage Dirtbag

“Teenage Dirtbag” by Wheatus is an oddly specific anthem that transforms personal angst into a universal rallying cry of adolescent rebellion.

The track, released on June 20, 2000, from their self-titled debut album, intertwines Brendan B. Brown’s youthful insecurity with a narrative shaped by cultural paranoia. Inspired by a harrowing 1984 Long Island incident, where a “Satanic panic” lens blurred the lines between heavy metal fandom and moral hysteria, the song’s backdrop feels like an uneasy marriage of suburban ennui and tabloid sensationalism.

The lyrics unravel the internal monologue of an outsider fixated on Noelle, a girl equally trapped—if in a different kind of despair, courtesy of her abusive boyfriend. It’s a neat collision of unrequited love and Iron Maiden reverence, culminating in a prom invite that feels improbably cinematic. Brown’s decision to sound younger than his actual 27 years at the time mirrors the precoital awkwardness embedded in the song’s DNA. Yet, what drives its cult status is the simplicity: a buoyant guitar riff set against adolescent vulnerability, as relatable in 2023 as it was at the dawn of the new millennium.

Peaking at number two in the UK and topping charts in Australia, Austria, and Flanders, the song’s international footprint testifies to its broad appeal. The 2000 music video, punctuated with clips from *Loser*, may add a layer of Y2K kitsch, but its cultural stickiness persists. Even the band’s decision to re-record their debut album (thanks to the inconvenient loss of original multi-track sessions) speaks more to the stubborn endurance of “Teenage Dirtbag” than nostalgia-driven redundancy. That 24 years later, its distorted chords and hormonal anguish still resonate only underscores its peculiar timelessness as much as its narrowly defined charm.


Featured on the 2000 album “Wheatus”.

Lyrics >> Review >> More by the same : Official Site

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6 . Oasis – Go Let It Out

“Go Let It Out,” emerging as the inaugural single from Oasis’s 2000 album “Standing on the Shoulder of Giants,” channels the uneasy transition of a band in flux.

With rhythm guitarist Bonehead and bassist Guigsy gone, Noel Gallagher shoulders much of the instrumental burden, handling bass, guitar, and mellotron duties, while Alan White’s drumming locks in with a drum loop to propel the track forward.

It’s a layered exercise in psychedelic rock, the mellotron nodding to the swirl of late ’60s experimentation without tipping too far into homage.

Liam Gallagher’s nasally snarl drives the vocals with his customary swagger, but not without a tinge of autopilot—a veneer that contrasts against melodically robust yet lyrically surface-level songwriting.

The song’s commercial triumph—securing number one spots on charts across the UK, Ireland, Italy, Spain, and Canada—is more a testament to Oasis’s brand gravity in 2000 than any reinvention of their sound.

The accompanying music video, cobbled together with a temporary lineup featuring Gem Archer stepping in as lead guitarist, mirrors that sense of a band scrambling to redefine themselves amidst personnel churn.

The B-side “Let’s All Make Believe” arguably casts a deeper shadow, earning reverence from *Q* magazine’s retrospectives and outstripping the main single in emotional resonance.

If anything, “Go Let It Out” rests more comfortably as a sturdy, serviceable chapter in Oasis’s discography than as a groundbreaking entry, leaning on familiar tropes of psychedelia and Gallagher-driven confidence instead of pushing new creative boundaries.


Featured on the 2000 album “Standing on the Shoulder of Giants”.

Lyrics >> Review >> More by the same : Official Site

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7 . t.A.T.u. – Friend Or Foe

“Friend or Foe,” a 2005 single from t.A.T.u.’s third studio album “Dangerous and Moving,” bears the fingerprints of seasoned collaborators Trevor Horn and Martin Kierszenbaum, but it navigates well-worn territory without fully staking fresh ground.

The track unfolds with the duo’s characteristic blend of dramatic tension and pop sheen, though it stops short of the emotional volatility that defined earlier successes like “All the Things She Said.”

Released in October 2005, “Dangerous and Moving” found t.A.T.u. in a period of flux, with its polished production reaching audiences in Taiwan, Mexico, Japan, Germany, and Italy—places where the album secured respectable chart placements rather than revolutionary impact.

Despite being part of this internationally distributed collection, “Friend or Foe” struggles to transcend its role as a cog in the album’s promotional machine.

Its accompanying music video lacks the provocations that once thrust the duo into global headlines, a far cry from the polarizing visuals of their earlier work.

Lacking controversy, it leans heavily on the personas of Lena Katina and Julia Volkova, whose vocal chemistry remains intact but seems to operate on autopilot.

“Friend or Foe” is ultimately more intriguing as a snapshot of t.A.T.u.’s transitional phase than for the raw energy it might have delivered in another context.

Their earlier album, “200 km/h in the Wrong Lane,” sold over 7 million copies, but no echoes of that resounding success reverberate here.

If anything, the song feels like a cautious step forward, an attempt to recalibrate rather than redefine.


Featured on the 2005 album “Dangerous and Moving”.

Lyrics >> Review >> More by the same : Instagram

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8 . Bullet For My Valentine – All These Things I Hate [Revolve Around Me]

“All These Things I Hate (Revolve Around Me)” encapsulates Bullet For My Valentine’s grappling with emotional turmoil within the framework of their early heavy metal sound.

Drawn from the 2005 album “The Poison,” the track delivers a raw juxtaposition of melodic vulnerability and metallic aggression. Released in 2006, it marked a pivotal moment for the band, peaking at number 29 on the UK Official Singles Chart while carving out a notable presence on the Official Rock & Metal Singles Chart, where it lingered at number 2 for an impressive 27 weeks.

The song’s structure alternates between tender acoustic passages and blistering distortion, reflecting a dichotomy that captures internal conflict with laser-like precision. Matthew Tuck’s vocal delivery oscillates between heartfelt croons and visceral intensity, a duality that underscores the track’s emotional weight. Meanwhile, Michael Paget’s lead guitar work, though competent, never fully ventures beyond convention, playing it safe amid the genre’s defined boundaries.

The accompanying music video, while an adequate visual representation, lacks the narrative depth found in “Tears Don’t Fall.” Its relative simplicity leans more on visual aesthetics than storytelling, relegating it to a supporting role rather than a standout element of the release.

As a single from their debut album, it reflects a band still wrestling with their identity post-transformation from Jeff Killed John. It thrives in live settings where its crowd resonance compensates for its slightly underwhelming production polish.


Featured on the 2005 album “The Poison”.

Lyrics >> Review >> More by the same : Official Site

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9 . Idlewild – A Modern Way Of Letting Go

“A Modern Way of Letting Go” walks the tightrope between Idlewild’s punk-inflected beginnings and their later penchant for melodicism, a balancing act emblematic of their 2002 album, “The Remote Part.”

Produced by Dave Eringa, whose work with Manic Street Preachers leans toward the anthemic, the song channels raw energy while corralling it into a more refined sonic structure. The band, comprising Bob Fairfoull, Colin Newton, Rod Jones, Allan Stewart, and Roddy Woomble, constructs a sound that feels like a continuing evolution rather than a complete departure—ping-ponging between catharsis and control. If their early work often threatened to careen off the rails, this track recalibrates that recklessness into something more deliberate.

Charting at number 28 on the UK Singles Chart in 2003, the song didn’t exactly storm the mainstream, but its inclusion in “Midnight Club 3: DUB Edition” by Rockstar speaks to its enduring appeal in certain cultural niches. By this point, Idlewild was no stranger to visibility, having earned spots on programs like “Top of the Pops” and “Later With Jools Holland” and playing high-profile events like Radio 1’s “One Big Sunday” in Falkirk.

Musically, “A Modern Way of Letting Go” fits within the broader identity of “The Remote Part,” often described as the band’s loudest yet most melodies-laden record to date. The track bursts out of the gate with a visceral vitality, yet its intensity is tempered with a clear focus on arrangement and pacing. The tension between melody and aggression mirrors a band navigating their mid-career identity without feeling commercially over-sanded. If anything, the polished edges make the rawness stand out even more starkly.

Where the song succeeds is in delivering emotional immediacy while avoiding indulgence, a feat not all bands in the same alt-rock orbit manage. Whether as a representative single or as a crystallization of Idlewild’s transitional phase, it holds its ground—unassumingly, perhaps, but effectively.


Featured on the 2002 album “The Remote Part”.

Lyrics >> More by the same : Official Site

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10 . Mew – Why Are You Looking Grave

“Why Are You Looking Grave,” from Mew’s fourth studio album “And the Glass Handed Kites,” epitomizes the Danish trio’s arguable fondness for dense, genre-hopping sonic structures.

Released in 2006 after the album’s staggered 2005 debut across Europe and the U.S., the track weaves a fine line between indie pop sensibilities and an undercurrent of prog complexity—styles Mew has cultivated since forming in 1995 in Hellerup, Denmark.

Jonas Bjerre’s vocals glide through the song like a fragile thread, juxtaposing lightness against arrangements that often lurch between the celestial and the ominous, though sometimes teetering on excess. Johan Wohlert’s contributions on bass and Silas Utke Graae Jørgensen’s drumming anchor an ambitious soundscape, but one could argue that ambition occasionally bleeds into over-layered clutter.

The song’s placement at number 20 on the Danish charts reflects a precise appeal that’s neither overtly mainstream nor too niche—a tightrope Mew walks throughout “And the Glass Handed Kites.”

Performed during the band’s European tour supporting R.E.M., the live renditions invited wider attention, though the contrast between the song’s polished studio intricacies and its rawer live energy might leave some yearning for balance.

“Why Are You Looking Grave” encapsulates the band’s fascination with hybridization—melding electronic flourishes, orchestral elements, and rhythmically restless passages. Yet, its refusal to settle risks alienating those less charmed by its deliberate esotericism. It’s a work that rewards patience, but not without occasionally testing it.


Featured on the 2005 album “And the Glass Handed Kites”.

Lyrics >> More by the same : Official Site

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11 . The Fray – Never Say Never

“Never Say Never” by The Fray occupies that delicate space where love songs teeter between earnest emotion and overwrought sentimentality. Released on May 5, 2009, as the second single from their self-titled album, “The Fray,” the track attempts to capture the cyclical nature of relationships with fluctuating degrees of success.

Produced by Aaron Johnson and Mike Flynn and written by Isaac Slade and Joe King, the song leans heavily on its piano-driven arrangement and Slade’s falsetto to create an atmosphere that is plainly wistful. While there’s a certain charm in its straightforward romanticism, some might argue that it veers dangerously close to being a “syrupy ballad,” a critique it has not escaped since its release. That critique, though, might miss how the track embodies The Fray’s signature sound—a blend of alternative and pop rock that doesn’t aim to provoke but rather comfort.

The song’s cultural reach is notable, having been featured in *Transformers: Revenge of the Fallen – The Album* and promos for *Inuyasha: The Final Act* on Animax Asia. Its resonance was further validated by its Platinum certification in August 2010 and a Grammy nod for Best Pop Performance by a Duo or Group with Vocals in the same year. Yet, while charting at #100 on Billboard’s Hot 100 songs of 2009 reflects some commercial success, it also underscores its modest staying power in a competitive musical landscape.

The music video, premiering first on MySpace on April 24, 2009, and later on TV, doesn’t necessarily elevate the song’s narrative. There’s a sense that “Never Say Never” might have fared better stripped of its overly polished edges—especially evident in the two shorter radio edits, which pare down essential textures like the guitars.

In the end, much like the relationship it describes, the song pulls apart and comes together in fleeting moments of impact. It’s carried more by Slade’s emotive vocals than by its somewhat formulaic instrumentation, yet it remains an emblem of The Fray’s ability to craft music that feels intimate, even amid its imperfections.


Featured on the 2009 album “The Fray”.

Lyrics >> Review >> More by the same : Official Site

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12 . M83 – Don’t Save Us From The Flames

“Don’t Save Us From The Flames,” a single from M83’s 2005 album *Before the Dawn Heals Us*, distills the tension and beauty of catastrophe into three and a half frenetic minutes. Released shortly after Nicolas Fromageau’s departure, the track reflects Anthony Gonzalez’s evolving vision for the band, a swirl of electronic textures and post-shoegaze melodrama.

The song’s frantic energy teeters between chaos and order. Layers of synths erupt like firecrackers over relentless drum machines, as if scoring a dream sequence in which destruction feels oddly euphoric. The balance of light and dark defines not just this track but the spirit of the album itself, which landed a Metacritic score of 76 and earned a spot in Amazon.com’s Top 100 Editor’s Picks for 2005. Gonzalez’s knack for converting raw emotion into cinematic soundscapes is on full display here.

Chart performance, though modest—peaking at number 86 on both the UK Singles Chart and the Official Physical Singles Chart—feels beside the point. “Don’t Save Us From The Flames” isn’t built for mass appeal; it’s an anthem for the introspective, a fever dream contained within its pulsing rhythms. The accompanying remixes, including the Superpitcher and Boom Bip versions, stretch the song’s boundaries but rarely improve its primal impact.

In a discography rich with sweeping, emotive productions, this track bridges electronic precision with shoegaze’s noisy allure, embodying the restless spirit of a band at a turning point. With Gonzalez at the helm, M83 proved that transitions, much like flames, can be destructive yet strangely hypnotic.


Featured on the 2005 album “Before the Dawn Heals Us”.

Lyrics >> Review >> More by the same : Official Site

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