‘Vous Avez Dit Bizarre’ N°98 – Vintage 2000s Music Videos
MGMT, Christina Aguilera, Muse, Kaiser Chiefs, P!nk, Madonna, Bloc Party, The Boy Wunda, Underworld, Lady Gaga, Oxide & Neutrino, Liam Lynch
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 . MGMT – Kids“Kids” by MGMT captures the complex interplay between youthful nostalgia and the inevitability of growing up. Released in 2008 as part of their debut album “Oracular Spectacular,” the track possesses an electronic rock texture that feels equally celebratory and introspective. The song’s genesis traces back to 2003 at Wesleyan University, where Andrew VanWyngarden and Ben Goldwasser performed an early version during their student days. Over the years, it underwent multiple iterations across EPs like “We (Don’t) Care” (2004) and “Time to Pretend” (2005), culminating in a polished mix that carved its iconic status. The track finds its musical footing in vibrant synths and an infectious melody, juxtaposed with lyrics that hold a mirror to the fleeting nature of innocence. It’s a work where bouncy rhythms mask a wistful undercurrent. Beneath the catchy beats lies an undercurrent of bittersweet reflection—oscillating between playful exuberance and a subtle existential ache. Visually, its surreal music video features unsettling imagery—a baby navigating a world filled with grotesque, colorfully monstrous figures—that leans into the song’s offbeat essence while amplifying its commentary on the overlooked anxieties of childhood. It’s unsettling, absurd, and creates a dissonance that lingers longer than the song’s runtime. Not without its share of controversy, “Kids” made headlines when former French President Nicolas Sarkozy used the track at a party conference without authorization, sparking a legal battle that secured its place in pop culture history for reasons far beyond its chart performance. Speaking of charts, the song climbed to number 16 on the UK Official Singles Chart and stuck around for a near-eternity at 48 weeks, a testament to its infectious longevity. Over the years, remixes such as the “Soulwax Remix” only broadened the song’s reach, extending its life on dance floors and playlists alike. Accompanied by remixed singles like “Of Moons, Birds and Monsters” (Holy Ghost Remix), it showcased MGMT’s knack for repackaging their sound in ways that keep it relevant without losing the raw charm of the original. In hindsight, “Kids” stands as both an emblem of its era and a timeless anthem for anyone caught in the limbo between naïve freedom and the weight of adult consciousness. MGMT weaves kitschy synth-pop with introspective depth, creating a tune that feels simultaneously universal and deeply personal. Featured on the 2007 album “Oracular Spectacular”.
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![]() 2 . Christina Aguilera – HurtReleased in 2006, “Hurt” by Christina Aguilera epitomizes the emotional weight of loss through its poignant lyrics and orchestral arrangement. Co-written by Aguilera, Linda Perry, and Mark Ronson, the ballad reflects on regret and longing, balancing deeply personal undertones with universal relatability. Musically, it leans on a foundation of E minor, with strings, piano, and drums creating a somber yet lush soundscape at a steady pace of 72 beats per minute. The song garnered significant attention, reaching number 19 on the Billboard Hot 100, while internationally it resonated as a top-ten hit in multiple European markets like Germany, France, and Sweden. The accompanying video, directed by Floria Sigismondi and Aguilera, blends circus aesthetics with a narrative of familial grief, cementing its dramatic arc with an intimate performance style. Awarded Best Video and Best Direction of a Female Artist at the MVPA Awards in 2007, its visual treatment elevates the song’s themes. Live performances, including appearances on “Saturday Night Live” and at the MTV Video Music Awards, brought additional gravitas, demonstrating Aguilera’s vocal prowess and theatricality. Part of her “Back to Basics” era, the track offers a glimpse into the album’s nostalgic yet refined approach, standing out as both a personal confession and an artistic showcase. Featured on the 2006 album “Back to Basics “.
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![]() 3 . Muse – Time is Running Out“Time Is Running Out” by Muse radiates urgency, pairing intense alt-rock instrumentation with themes of pressure and fleeting time. Its bassline, drenched in effects and a Roland synthesizer routed through a Marshall amp, nods to a funkier edge influenced by Michael Jackson’s “Billie Jean.” The production, helmed by Rich Costey, balances sleek aggression with grooves not typically expected from Muse’s earlier work. The song’s allure extends to its rebellious music video, a curious homage to “Dr. Strangelove,” portraying military officials unraveling through synchronized chaos. Released in 2003, it smashed the UK Top 10, marking Muse’s first time hitting such heights, and later secured similar acclaim across the US alt-rock scene. Formats ranged from vinyl to DVD, complete with a notable B-side, “The Groove,” further establishing its eclectic appeal. Whether through live performances, airplay, or even its inclusion in “Rocksmith 2014,” this track remains a staple of the Muse legacy. A dark, pulsating anthem, it straddles the line between relentless tension and undeniable swagger. Featured on the 2003 album “Absolution“.
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![]() 4 . Kaiser Chiefs – RubyReleased as the lead single from Kaiser Chiefs’ second studio album, “Yours Truly, Angry Mob,” “Ruby” catapults itself with playful urgency and an instantly recognizable chorus. The track, boasting production from Stephen Street, clinches its place in history as the band’s first number-one UK single, and its appeal extends far beyond British borders. The instrumentation thrives on a blend of indie rock theatrics and punchy rhythms, carrying a singalong quality that feels purpose-built for raucous festival crowds. Its brightly polished sound juxtaposes an emotional core that hints at themes of yearning, though, like many hits, its true meaning is steeped in anecdotal mystery. Former drummer Nick Hodgson amusingly credits the band’s Labrador, Ruby, for inspiring the track—a curious origin for a song that veers so confidently toward universality. The video enhances the charm: a miniature CGI city builds around the band as they perform in a surreal desert, a whimsical but controlled spectacle. By 2007’s close, the song had cemented its commercial weight by becoming one of the UK’s best-selling singles of the year, and its cultural footprint includes nods from cover artists and satirical reinterpretations, such as Elio e le Storie Tese’s scandal-tinged parody. Though straightforward in melody and structure, “Ruby” thrives on its ability to lodge itself in the listener’s head with unapologetic immediacy—love it or loathe it, there’s no denying its staying power. Featured on the 2007 album “Yours Truly, Angry Mob”.
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![]() 5 . P!nk – So WhatP!nk’s “So What” is a brazen anthem of defiance wrapped in electrifying pop-rock, shaking off heartbreak with a smirk as sharp as its guitar riffs. The track lands like a sucker punch, its martial drumbeat and layered synths forming the backbone of a sound both rebellious and celebratory. P!nk’s no-holds-barred lyrics—infused with sarcasm and cheek—channel the turbulence of her split from Carey Hart into a rollicking declaration of independence. It’s not just a breakup song; it’s a post-breakup spectacle, flaunting resilience with a juvenile grin and using humor as a shield against vulnerability. If the song’s brash confidence doesn’t grab you, the accompanying video certainly will, with its over-the-top antics, including sawing a tree in half and cruising down Sunset Boulevard on a lawnmower. The cameos—most notably a bemused Carey Hart—further blur the line between P!nk’s personal chaos and her performer persona, offering a meta twist to an already outrageous narrative. The visual’s absurdity underscores the artist’s commitment to embracing flaws while turning life’s messiness into art that thrills. Commercially, the track crashes through global charts with reckless abandon, crowned by a U.S. Billboard Hot 100 peak that cements its status as a global juggernaut. The magic of “So What” lies in its undeniable relatability wrapped in theatrical flamboyance, a balance P!nk seems to command effortlessly. It’s unpolished, loud, brash, and oddly cathartic—much like the artist herself, whose ability to turn emotional rawness into a karaoke-ready anthem remains unmatched. Featured on the 2008 album “Funhouse”.
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![]() 6 . Madonna – Die Another DayReleased in 2002 to accompany the James Bond film of the same title, “Die Another Day” carves out a divisive space in Madonna’s catalog. Co-written by Madonna and Mirwais Ahmadzaï, with contributions from French composer Michel Colombier, it’s a track that unapologetically leans into experimental tendencies while brushing against pop standards. The song balances electroclash with dance-pop elements, scattering bleeps and swirls over a backdrop of stabbing strings, all of which aim to amplify its themes of self-destruction and resilience. It eschews the grandeur of classic Bond themes for a colder, more fractured sound, a choice that earned both applause and criticism at the time of release. Chart-wise, the track made impressive moves: peaking at number eight on the US Billboard Hot 100 and reigning supreme in markets like Canada, Italy, and Spain. Yet, its reception feels split, with purists scoffing at its divergence from the Bond formula and others praising Madonna’s forward-thinking approach. The accompanying music video, with a price tag reportedly around $6.1 million, spares no expense in reflecting the song’s themes. Directed by the Swedish team Traktor, the video juxtaposes Madonna’s good and evil personas in torturous and combative tableaus, layering in meta-commentary on identity and power. Expensive, no doubt, but not everyone was convinced that it hit the emotional mark to justify its cost. In live performances, “Die Another Day” has punctuated multiple Madonna tours, including the Re-Invention, Sticky & Sweet, and Celebration tours. Each iteration re-contextualizes the song, often stripping it of its cinematic origin to let it stand as a statement on personal conflict and reinvention—Madonna’s bread and butter, after all. Is it one of Bond’s standout themes? Critics remain divided. Its avant-garde ambition is matched by a steely detachment that departs from the bombastic tradition of its predecessors. What’s undeniable is Madonna’s refusal to play it safe, forcing a piece of the Bond legacy into her own worldview rather than bending to expectation. Featured on the 2003 album “American Life“.
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![]() 7 . Bloc Party – The Prayer“The Prayer” by Bloc Party captures an edgy intensity that feels simultaneously intimate and anthemic. It’s grounded in a dark, minimalistic rhythm section that flirts with electronic textures, lending the track a pulsing, primal heartbeat. Kele Okereke’s falsetto-laced vocals add an ethereal quality, while lyrically, the song teeters between yearning and bold self-assurance. The production oscillates between indie rock grit and club-ready sleekness, creating an uneasy tension that suits the album’s overarching themes of modern alienation. The music video, with its shadowy aesthetic and frenetic edits, mirrors the track’s visceral energy—a fitting visual counterpart to its hypnotic beats. “The Prayer” isn’t coy; it glistens with ambition, a sonic plea for transcendence in the chaos of city life. While it doesn’t deviate radically from Bloc Party’s established sound, it does push their emotional and sonic boundaries further into uneasy, exhilarating terrain. It solidifies its place not just as a track for fans but as a microcosm of mid-2000s indie at its most introspective yet electrified. Featured on the 2007 album “A Weekend in the City”.
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![]() 8 . The Boy Wunda – EverybodyReleased during the vibrant electronica boom of the late 1990s, “The Boy Wunda – Everybody” translates the exuberance of club culture into a crisp, buoyant three minutes and thirty-nine seconds of sound. The song opens with energetic beats that immediately command attention, setting a tone of carefree revelry that defined its era. The lyrics, while far from profound, serve as a simple yet effective mantra—anchoring the track in the collective euphoria of its listeners. It climbed to number seven on the UK pop charts, a testament to its infectious appeal and compatibility with radio playlists of the time. Not content with its impact fading, the 2024 release of a 25th-anniversary remix aimed to refine the track’s legacy. This remix offers a polished reinterpretation, one that sharpens the production while retaining its original carefree groove. While no major awards or singular televised moments are tied to the song, its presence on compilations like “Now That’s What I Call Music 45” underscores its momentary ubiquity. It is less a statement of innovation and more an emblem of the zeitgeist—a carefree anthem tailor-made for dancefloors saturated with late-’90s optimism.
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![]() 9 . Underworld – Dinosaur Adventure 3DUnderworld’s “Dinosaur Adventure 3D” manages to be both fiercely hypnotic and playfully unsettling, a fitting juxtaposition for an electronic track that grooves as much as it jars. Originally released in 2003 as part of *A Hundred Days Off*, the song layers pulsating beats with dense, experimental textures, creating a soundscape that feels restless yet measured, like a machine perpetually recalibrating itself. The track hooks you with its relentless propulsion but resists offering a clear resolution, leaning into a kind of rhythm-induced disorientation that’s as compelling as it is bewildering. The accompanying music video only amplifies this uncanny tone, showing mechanical bees wreaking havoc across a cityscape—a surreal metaphor for technology’s ceaseless intrusion into organic life. Available in an array of remixes, each version tweaks the song’s DNA slightly, emphasizing various elements while preserving its glitchy charisma. While it didn’t storm the charts, its respectable climb to No. 6 on the US Dance Club Songs chart confirms its niche allure. The track is a calculated risk in Underworld’s catalog, rejecting easy accessibility for something stranger yet undeniably magnetic. Featured on the 2002 album “A Hundred Days Off”.
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![]() 10 . Lady Gaga – Poker Face“Poker Face” by Lady Gaga electrifies with its pulsing beats and teases with layered meanings, slicing through pop culture with precision. Emerging from her debut album, “The Fame,” it rides the synth-pop wave in the often-overlooked key of G♯ minor, cementing its place among late-2000s radio juggernauts. The song’s lyrics slip between coy sexual innuendos and calculating confessions, illustrating desire’s duality while nodding towards the complexity of Lady Gaga’s fluid sexual identity. Amid the catchy “muh-muh-muh-mahs,” a wry smirk lingers—this isn’t just a sing-along but a clever exercise in withholding raw emotion behind a metaphorical poker face. The music video, directed by Ray Kay, complements the song’s play on deception. Its luxurious setting mixes decadence with absurdity, from turquoise leotards to degenerate poker games, each frame a vivid tableau of excess and cold control. Critics swooned, and awards followed, validating Gaga’s shimmering yet ruthless artistry. But beneath the surface lies a sly wink to pop’s enduring ability to disguise deeper feelings beneath glitter and glamour. “Poker Face” revels in its contradictions, a triumphant anthem that conceals vulnerability in plain sight. Featured on the 2008 album “The Fame“.
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![]() 11 . Oxide & Neutrino – No Good 4 Me (w/ Megaman, Romeo and Lisa Maffia)“No Good 4 Me” manages to capture the frenetic energy of early-2000s UK garage, fusing gritty production with sharp vocal interplay. Oxide & Neutrino cleverly sample the Prodigy’s “No Good (Start the Dance),” reworking it into a punchy anthem that retains its original defiance but shifts into a more urban, garage-inflected palette. The involvement of Megaman, Romeo, and Lisa Maffia enriches the track’s dynamic, with each artist adding a distinctive edge to the narrative of rebellion and strained relationships. The song’s rhythm is relentless, its bassline pulsating beneath percussive beats that are simultaneously syncopated and infectious, a hallmark of Oxide & Neutrino’s style during this period. Despite its seemingly edgy facade, “No Good 4 Me” reveals a strong melodic framework, with Lisa Maffia’s smoother vocal delivery offsetting the grittier tones of her collaborators. While the lyrics focus on romantic disillusionment and resistance, the production offers little respite, creating a claustrophobic soundscape that mirrors the emotional unrest embedded in the track. The accompanying video reflects a mood of urban tension, combining tight, dimly lit visuals with kinetic edits that heighten the track’s restless vibe. Interestingly, the duo’s knack for toeing the line between mainstream appeal and underground grit is on full display here, giving the song a dual identity that resonated across audiences in differing spheres. This track cemented itself within the garage movement’s peak, holding its own alongside contemporaries while demonstrating a willingness to court broader influences without sacrificing authenticity. Featured on the 2001 album “Execute”. |
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![]() 12 . Liam Lynch – United States Of WhateverLiam Lynch’s “United States of Whatever” serves a potent dose of irreverence, both in sound and spirit. This 2002 track smashes together punk rock aggression and comedy rock absurdity, creating a minute-and-a-half anthem of playful defiance. Born out of a single-take recording, the song thrives on its simplicity—overdriven bass chords punctuate Lynch’s deadpan delivery as he dismisses one scenario after another with a curt “Whatever!” The humor lies not just in the words but in the tonal nonchalance, transforming mundane social interactions into comically exaggerated moments of rebellion. Its abruptness amplifies its charm, refusing to linger any longer than necessary, and leaving listeners grinning at the sheer absurdity. The song became a quiet cultural agitator, climbing charts in the UK and Australia while holding the Guinness World Record for the shortest UK charting hit, its brevity making it as punchy as it is memorable. Its inclusion in “Tony Hawk’s Underground” extends its reach into skate-culture lore, while parodies and remixes have kept its cheeky spirit alive. Adding to its legacy is a low-budget, tongue-in-cheek music video that mirrors the track’s slapdash energy, embodying a carefree DIY ethos that underscores its enduring playfulness. Featured on the 2003 album “Fake Songs”.
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