The 11-minute movie, We Were Once A Fairytale, was supposed to have been released last month but only hit the internet this weekend (Perhaps because Kanye ended up in the news for other reasons). Despite the delay, it's worth your attention if only to see the rapper ditch his sci-fi schtick for urban fantasy... If having sex with a ghost and dealing with a demon pulled out of his stomach really counts as a fantasy.

Here's a clip of the opening, before things get weird. Well, weirder:

The whole movie was available over the weekend here; this morning, the video was removed, but can still be seen on YouTube here and here until it comes back.

Watch: The Deranged Kanye West/Spike Jonze Short Film [Pitchfork]

Three Rules Of Music Video Robotics
1. Make it confusing. You're never quite sure what Kanye, Beck or Bjork is really up to in these videos.
2. Give a hint of androgyny.
3. And above all, make it sexy.

And here are our favorites:

Dresden Dolls, "Coin-Operated Boy"
An adorable but slightly sad little song about a boy brought to life for love at the low, low price of a single coin. The Dresden Dolls' Amanda Palmer sings, "Sitting on the shelf. He is just a toy. But I turn him on and he comes to life, automatic joy...Made of plastic and elastic.... More love without complications galore." The bittersweet ditty definitely sings of love, but it's not as tawdry as Gigolo Joe from AI. If only everything were this simple.

Bjork, "All Is Full Of Love"
Absolutely beautiful mechanical Bjork. Looks like the Svedka she-bot stole her look.

Beck, "Hell Yes"
Adorable QRIO 'bots bop along to "Hell Yes." Oh Beck you'll never be a "Loser" when you incorporate dancing robots.

Kylie Minogue, "Come Into My World"/Fever Tour Introduction
She may have battled gold angel hosts on Dr. Who but Kylie embraces her inner android at the opening of her tour gracing the stage in full robot armor. Which songstress Beyonce Knowles later mimicked at the 2007 BET awards. Who knew you could steal a robot look?

io9 reader Garrison Dean was there, and here's how he summarizes Kanye's science fiction epic:

Basically his set of the night, by far the biggest part, was the story of him in his spaceship, crashlanding on a strange planet and trying to get off and get home. His only companion was his ship's onboard female computer Jayne, which sounded delightfully like the voice in Portal. She comforts him, tells him it will be ok and at one point offers her "services" to him during "Gold Digger" [becoming] two sexy golden painted ladies on his view screen. The set was nothing more than him on a minimal landscape with a moving video platform. Behind him was a massive screen that showed theme-centric videos of space, alien landscapes and fancy jeffries tube type thingies, and a smaller screen that had a computer interface that looked very much like the old Tron game cabinet (awesome). He never broke the central concept of the show, there were never any guests, he never showed clips from his videos (to my dismay, I was hoping he would show the Murakami Good Morning video) it was just him and his stage. The only mistep of the night seemed to be an naked anime female robot that flew down from the ceiling. It looked way cool yet hung there lifeless, it wasn't until later that I realized it was probably supposed to move when she talked as I had remembered that Henson Studios had built something for the show. Oh well, first night jitters I guess.

All in all, a very cool show and don't worry Kanye makes it back to earth after he is reminded by Jayne that he can guide his self through the darkness because he is the brightest star in the universe and he Glows in The Dark.

While Daft Punk has been popular in the techno and French house music scenes since the 1990s, they've won over a whole generation of hip-hop fans since West included a sample of their 2001 song "Harder, Better, Faster, Stronger" in his song "Stronger", which won a Grammy for Best Solo Rap Performance on Sunday night.

What's most impressive about Thomas Bangalter and Guy-Manuel de Homem-Christo is their devotion to the robotic personas that hide their identities. Though they used to perform as themselves when they first came onto the scene, the duo began appearing as their robot counterparts with the release of their Discovery album. Now they hide their faces during interviews and digitally conceal themselves in photographs.

We did not choose to become robots. There was an accident in our studio. We were working on our sampler, and at exactly 9:09 a.m. on September 9, 1999, it exploded. When we regained consciousness, we discovered that we had become robots.