Stereogum

Ever since Monday, we’ve been hearing rumors that Madonna was furious at M.I.A. for flipping off the camera during Madonna’s Super Bowl halftime show. Today, we get confirmation, as NME reports. Talking to Ryan Seacrest earlier today (because of course she was), Madonna said that she “wasn’t happy about it,” breaking it down thus: “It’s kind of a teenager irrelevant thing to do in one respect, but there was such a feeling of love and unity there so what was the point? It was just out of place.” I don’t know about the “love and unity” thing, but she’s not wrong about the “teenager” part.

More Madonna response: “To tell you the truth, I didn’t even know about. I didn’t find out until I left. I found out about it in the elevator to get to the car and get to the airport. I wasn’t happy about it. I know it’s kind of punk-rock and everything, but to me, there was such a feeling of love and good energy and positivity, and it just seemed negative.” From now on, “kind of punk-rock and everything” will go down as one of music’s great passive-aggressive put-downs.

Like a lot of the previously featured towns in the Area Codes series, Gainesville, FL has a rich history as a music scene, going back to the ’70s when some guy named Tom Petty ran ramshod in town. In the ’90s, No Idea Records, and its associated bands, became a major magnet for Florida’s youth culture, with acts like Against Me!, Hot Water Music, Jawbreaker and others in wrapped up in No Idea’s fold. While hints of that punk spirit can still be detected in the modern music that Gainesville is putting out — pop-tinged punk and hardcore is still very much a draw — the scene, and No Idea Records for that matter, has blossomed into an environment where all kinds of sounds are developed, from the more traditional hardcore of a band like Cutman to the florid indie of Averkiou.

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In the video for her tingly, spectral electronic pop song “Für Felix,” an old-timey version of Julia Holter washes up on an uninhabited beach. A wolf shows up, and then she hugs a horse. It’s all very, very pretty, which means it matches the song well. Eric Fensler directs. The video itself is a few years old, but it gets a post because the song appears on her highly-touted forthcoming LP Ekstasis.

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Last month, Hold Steady frontman Craig Finn released Clear Heart Full Eyes, his first-ever solo album, and he’s lately done a few different in-studio sessions for a few different media outlets. At a couple of those, he’s played songs that, for whatever reason, didn’t appear on the album. During his session for NPR’s Tiny Desk Concerts video session, he did one called “Jeremiah’s Blues,” a really sad and beautifully written story-song that should’ve absolutely been on the album. And on a session for Minnesota Public Radio’s The Current, he played the new one “Sarah, I’m Surrounded,” and it could’ve also made the cut. Hear him play both below.

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Last month, Hold Steady frontman Craig Finn released Clear Heart Full Eyes, his first-ever solo album, and he’s lately done a few different in-studio sessions for a few different media outlets. At a couple of those, he’s played songs that, for whatever reason, didn’t appear on the album. During his session for NPR’s Tiny Desk Concerts video session, he did one called “Jeremiah’s Blues,” a really sad and beautifully written story-song that should’ve absolutely been on the album. And on a session for Minnesota Public Radio’s The Current, he played the new one “Sarah, I’m Surrounded,” and it could’ve also made the cut. Hear him play both below.

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Sondre Lerche’s new video for “When The River” is a pretty, soft-focus splicing of Super 8 film (from drummer David Heilman’s childhood) and Lerche performance footage shot by his Lerche’s, Mona. It’s a clip that underscores the heartsickness of nostalgia and the mellow sadness of Lerche’s music, all presented with vivid flecks of color and life. Though the Super 8 thing is pretty overdone at this point, it’s a nice reminder of that style’s effectiveness when thoughtfully employed. Watch the clip below.

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Sondre Lerche’s new video for “When The River” is a pretty, soft-focus splicing of Super 8 film (from drummer David Heilman’s childhood) and Lerche performance footage shot by his Lerche’s, Mona. It’s a clip that underscores the heartsickness of nostalgia and the mellow sadness of Lerche’s music, all presented with vivid flecks of color and life. Though the Super 8 thing is pretty overdone at this point, it’s a nice reminder of that style’s effectiveness when thoughtfully employed. Watch the clip below.

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Some collaborations just make too much sense. Odd Future member Domo Genesis and actual rap star Wiz Khalifa are both such stoners that they both released albums called Rolling Papers at roughly the same time. For a minute, there was even a rumor that Odd Future was furious about Wiz for the transgression, but no, Odd Future love Wiz. And now both of those guys are together on a perfectly pleasant new rap song called “Ground Up.” Cardo produces. Listen to it below.

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Some collaborations just make too much sense. Odd Future member Domo Genesis and actual rap star Wiz Khalifa are both such stoners that they both released albums called Rolling Papers at roughly the same time. For a minute, there was even a rumor that Odd Future was furious about Wiz for the transgression, but no, Odd Future love Wiz. And now both of those guys are together on a perfectly pleasant new rap song called “Ground Up.” Cardo produces. Listen to it below.

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The thrashing Jersey indie rock outfit Screaming Females will release their new record, Ugly this April. Today, they premiered that release’s mid-tempo leadoff track, which features some of the shred that the Marissa Paternoster-fronted band is known for. Hit the stream below and check out some new tour dates.

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The thrashing Jersey indie rock outfit Screaming Females will release their new record, Ugly this April. Today, they premiered that release’s mid-tempo leadoff track, which features some of the shred that the Marissa Paternoster-fronted band is known for. Hit the stream below and check out some new tour dates.

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On last night’s episode of the Late Show With David Letterman, the Kills brought a stripped-down, no-backing-band rendition of their gooily gorgeous ballad “The Last Goodbye” to the stage. Allison Mosshart’s hair looked extra-nuts, and she sounded amazing. It’s one of the stronger late-night performances in recent memory, and you can watch it below.

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On last night’s episode of the Late Show With David Letterman, the Kills brought a stripped-down, no-backing-band rendition of their gooily gorgeous ballad “The Last Goodbye” to the stage. Allison Mosshart’s hair looked extra-nuts, and she sounded amazing. It’s one of the stronger late-night performances in recent memory, and you can watch it below.

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Last month, the Boss returned with the old-school anguished stadium-stomper “We Take Care Of Our Own,” and today he’s debuted the video for that track. The clip, which helpfully prints all the lyrics onscreen and which intermingles footage of serious-looking Bruce with salt-of-the-earth Americana imagery, is really nothing to write home about. But it’s always fun to watch Springsteen being Springsteen. Check it out below.

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Thanks to reader memoryboy for sending us this link to Triple J radio, wherein Chairlift and DR rap star Victor Vazquez aka Kool A.D. cover Beyoncé’s “Party.” (This is also titularly poetic, since Chairlift’s Caroline guested on Das Racist’s “Fashion Party back in the Sit Down, Man days.) In this fashion-less “Party,” Caroline plays the part of Beyoncé and Kool that of André, and though this would have had fascinating results if they had reversed roles, everyone benefits from this more conventional casting because a) Caroline has a great voice for covers (request her incredible “Wuthering Heights” next time you see her) and b) Victor is a rap star. (Note: Vic’s verses are de novo and he puts Common/Drake on blast just kidding he’s indifferent to their beef which is my preferred stance as well.) Chairlift as a backing band also sounds properly funked, which is nice. The whole bit starts by Chairlift instrumentalist/producer Patrick Wimberley talking about his “dream band” (Kool A.D., Stevie Wonder, and Phish’s Mike Gordon, which sounds pretty good!) and then by his band teasing the intro to “Ni**as In Paris” before launching into Bey. “Paris” comes up again in the exeunt, as well. Enjoy it, as they seem to:

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Noel Gallagher’s new “Dream On” video is a beautifully crafted, entertainingly ridiculous affair about an intergender match in which the dude gets his ass handily beat. Gallagher himself plays the ref, and the air of old-school glamor is put together really well. This is the type of goofy, high-concept video that big artists used to make all the time, and it’s good to see someone stepping up and delivering that today. Watch it below.

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In a couple of weeks, Thrill Jockey will issue a limited edition set of Wooden Shjip remixes on vinyl featuring the likes of Andrew Weatherall, Spaceman 3, and Kandodo (Simon Price of The Heads). The first take of that album, Weatherall’s thundering take on the SF psych rockers’ “Crossing,” streams below.

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They’re both charismatic and weird-looking white rappers, but beyond that, Action Bronson and Riff Raff don’t have a whole lot in common. Bronson is a classic New York-style bruiser, while Riff Raff is a crazy-eyed drug-gobbling Soulja Boy affiliate with a diamond chain that looks like a Slurpee. On this unexpected collab, though, they sound pretty great together, partly because the beat is such an awesomely zoned-out slow-crawl and partly because they are both good at rapping. The video is fun, too. Max Albert directs; watch it below.

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Young Vancouver dude Mac DeMarco is about to release his album Rock And Roll Night Club next month. Below, listen to the tweaked-out weirdo-blues joint “I’m A Man,” which is the sort of thing a 15-year-old Lou Reed might’ve made if he’d had access to GarageBand and Tumblr.

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Young Vancouver dude Mac DeMarco is about to release his album Rock And Roll Night Club next month. Below, listen to the tweaked-out weirdo-blues joint “I’m A Man,” which is the sort of thing a 15-year-old Lou Reed might’ve made if he’d had access to GarageBand and Tumblr.

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