STREAM: Charli XCX “Kingdom” (Ft. Simon Le Bon)

As part of the Lorde-curated soundtrack for Hunger Games: Mockingjay — Part 1, Charli XCX has teamed up with Duran Duran‘s Simon Le Bon for a dramatic piano ballad called “Kingdom.” She wrote the song with Vampire Weekend’s Rostam Batmanglij after they spent a drunken night at a Miley Cyrus concert. She recently told Pitchfork that Lorde insisted on bringing in someone from a different era and that she was excited “to be working with someone who’s iconic and from a different time than me.” The Hunger Games: Mockingjay — Part 1 soundtrack is out now via Republic.

VIDEO: Jawbreaker “Boxcar”

Well, this discovery made my day. Jawbreaker has released a video for “Boxcar” from its close to perfect pop-punk song cycle, 24-Hour Revenge Therapy, a mere 20 years too late. Drummer Adam Pfahler evidently found a bunch of Super 8 footage circa 1992, and thus we have a video for “Boxcar.” I suppose it’s not without its benefits considering the band just reissued 24-Hour Revenge Therapy on Pfahler’s own Blackball records.

TV on the Radio Play “Happy Idiot” on Letterman

At this point I don’t think you can call it luck that TV on the Radio has ridden a decade long wave of overwhelmingly adoring press. Must be doing something right. I’ve never been much more than a cursory admirer, following the band’s trajectory only loosely. I saw TVOTR open for Bauhaus and Nine Inch Nails in 2006, and I’ve got a few of their records. But I’ve yet to be blown away, despite all the accolades. I cringe at the concept of bands being “overrated” because it seems paradoxical to say so. I may be coming around, though. When I first heard “Happy Idiot” it instantly clicked with its unabashed new wave hooks, which is a first for any song by TVOTR and me. Seeds came out Tuesday, and I’ve had a hard time not keeping it on repeat.

LIVE: J Mascis Strips Down for NPR

Even though his de facto method of transmission with Dinosaur Jr. is at ear-splitting volume, J Mascis proves his chops are not merely a byproduct of noise with an acoustic performance for NPR. Mascis runs through a medley of songs off his latest solo record for Sub Pop, the unsurprisingly solid Tied to a Star, as well as the Dinosaur Jr. classic “Little Furry Things.” [via Spin]

VIDEO: David Bowie “Sue (Or in a Season of Crime)”

David Bowie is one of those rare artists who’s practically impervious to criticism. When you’ve achieved as much as he has throughout a four-decade-plus spanning career you can pretty much do whatever the hell you want without worrying about sullying your legacy. With another retrospective collection to promote (Nothing Has Changed), Bowie has just released a jazz-noir new single replete with a Raymond Chandler-esque lyric video. It’s Bowie in full croon mode, but he keeps it interesting with creepy imagery: “Sue, I pushed you down beneath the weeds/Endless faith in hopeless deeds.”

REUNION: Babes in Toyland Announce First Show in 18 Years

In other bizarre, unexpected reunion news, Minneapolis’ Babes in Toyland have announced its first shows in 18 years. I first saw BIT when I was in high school at a tiny club in Nashville, and it scared the ever-living shit out of me. Ket Bjelland’s manic stage presence is not for the faint of heart. And it turns out her demons were/are real, which makes it all even crazier. A trio of Google employees are footing the bill for the reunion, which is as surprising as it is cool. The fact that this band ever made it to a major label is quite a coup and just reiterates the power of Nirvana’s impact on the music business in the early 1990’s. Hit singles were not in the cards for this band, but by God they rocked.

STREAM: St. Vincent’s Complete Live Set at Pitchfork Music Festival

St. Vincent’s self-titled fourth record is without a doubt in my top ten for the year. Her music is an idiosyncratic mix of post-Bowie stylized weirdness, syncopated, dance-able rhythms, and off-kilter guitar bravado. There is no one in her league. Her lyrics are intellectual and articulate with the requisite amount of oddness to match the music’s strict left-of-center bent. She’s clearly come into her own musically with this record, and her live show brings a theatrical element that elevates her bizarre stories and dystopian commentary. If watching her perform doesn’t make you want to buy her records, I can’t help you.