This short can be found on the "The Animation Show" Vol.1 DVD by, Mike Judge and Don Hertzfeldt.
It is done by Alex Boduvsky and named Bathtime In Clerkenwell (2002)
Here is some text that came in the DVD booklet about it, very rich.

ALEX BUDOSKY is calling from somewhere in the 917 area code, in New York City where he and his family call home, and his cell phone signal is breaking up. "Basically the entire family emigrated because of, you know, hard times in Russia in the nineties. we left in December of '94, garble garble garble garble garble garble. Yeah. So it was a good choice, I guess." Never having found out what their alternatives were, I have to say I agree with his assesment, the former immigrant who arrived with only artistic aspirations and no English vocabulary to speak of, is now the animator of choice for pop act The Real Tuesday Weld with a singular style and a rising career as a commercial artist.
Budovsky, who was born in St. Petersburg in 1975, came to America with his family and settled in New York, where they all still live. The then not-quite-20-year-old set his sights on higher education, but the fisrt priority was a practical linguistic one. "I didn't speak English when I arrived," he says, "so I went to Brooklyn College and took some English as a Second Language classes. Then I took some film classes, and graduated as a sound designer, with an emphasis on film".
He graduated in 2000 with an aptitude in all the film basics, including editing, screenwriting, and photography, and discovered a program called Macromedia Director, which is now software generally used in business presentations. He began animating as a lark, without any formal training. "I was working as an electrician in the New York City ship terminal and doing film in my spare for fun", he says, "so I just had fun entertaining myself".
At a friends house, he happened to hear Where Psyche Meets Cupid, a collection of droll cabaret/electronica by Stephen Coastes, a.k.a. The Real Tuesday Weld. He immediately decided to make a video for the haded hip-hop/hot jazz ballad "Terminally Ambivalent Over You".
"I knew nothing about copyright", Budovsky says, "and one of my friends told me, 'You can't just use this guy's music. You have to at least contact him and ask for permission'. So I wrote him and asked for permission, even though the film was laready made. He gave me permission. I waited several weeks, and sent him the film". The Flash-animated depiction of a love-distracted prisoner on a Gramaphone assembly-line unfolds mostly in black and white with a few color accents, and barring the contemporary soundtrack and the ultra-clean frame, it could pass for a particularly accomplished product of the Kruschev-era Zagreb Studio of former Yuogoslavia.
Coates loved what he saw, and sent Budovsky sketches for the songs from his upcoming CD "I, Lucifer". Alex heard "Bathtime in Clerkenwell", decided it was destined to be a hit, and immediatly set to work on a vdieo. The demented product is full of confused humans, belligerent cuckoos, and princers dangling over assembly lines - icons that seem to recur often in Budovsky's work. Don't bother asking where they come from, though, because Alex doesn't have a clue. "I never even think about what I do. It just comes out on its own", he laughs. "I can't really explain how all those characters appear."
To Budovsky's surprise, once Bathtime started making the festival circuit in 2002, it began to pick up an array of prizes, and the notoriety led to more shorts and commercials. He's worked on campaigns for Lucozade and Converse, his latest short is a music video based on Geoff Muldaur's version of "Brazil". Budovsky reworked the song with the help of The Real Tuesday Weld and friend Girt Chatrou (who is a two-time world champion whistler). He couldn't secure an internet license for "Brazi", but most of the rest of Budovsky's work is online at his own Figli-Migli Productions web site. (It means "low jinks.")
Budovsky doesn't have any feature film plans at the momment; his work method wouldn't support it. "All of my films - I don't do any pre-production whatsoever", he says. "I don't do scripts, I don't do storyboarding or animatics. I just build the film shot-by-shot, and halfway through the film I don't know what the end is going to be". For Alex, up to this point, short form has been the way to go because of the amount of contol he carries on the prokect. "In animation, you're a king, and you're a god, and you can accomplish so much alone", he laughs but adds, "I do like to collaborate though. It's exciting to see where people's input can take you."

/my wrists hurt, probably typos

Expired in Queue - 4 day limit.