{shortcode-77f93155468ebaf67494db90496e46e771146dca}Alex Lahey’s debut album, “I Love You Like A Brother,” is the most exciting Australian debut in the last two years. Witty and self-effacing, Lahey brings a fresh sound to a well-trod path. The video for the album’s biggest single thus far, “Every Day’s The Weekend,” demonstrates just how original she is by giving full proof that Alex Lahey is a clone.

The video opens innocently enough, as Lahey, wearing a blue jumpsuit, goes to work as a supervisor in a pickle factory. Lahey soon dozes off as a paintbrush, a severed head, and some hi-tops go by on a conveyor belt. Ostensibly massive amounts of damage occur, and Lahey gets hit with six lawsuit folders, then is fired. After this, however, things get a little suspicious. Lahey appears applying for a job as a promoter for an illegal organ donation service, but here she looks markedly different. What is the difference, you ask? She’s wearing a grey sweater and red pants. Something’s off. After Lahey’s fired for dozing off on this job, we see a third, yet equally different Lahey wearing a white shirt and an apron in a bakery while getting berated for messing up a cake. All of a sudden, she disappears. Lahey reappears at an audition where she walks in the room and realizes she’s everyone there.

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There are at least four different Alex Laheys and the cavalier way in which Lahey reveals this is shocking. Alex Lahey has somehow managed to clone herself and start a jam session with her doppelgangers. On top of several questions this raises, including whether or not this counts as extreme DIY indie, the viewer is left wondering what Lahey intends to do with her clones. Will she undermine Australia’s workforce like in the video by snoozing off and committing acts of gross negligence nationwide? Or will she use her clone force to take over the world and dominate the airwaves with her sinister army? “Every Day’s the Weekend” leaves few clues as to her true goals.

—Staff writer Edward M. Litwin can be reached at edward.litwin@thecrimson.com.