NPR Music - New Music Friday: The best albums out Aug. 15

Episode Date: August 15, 2025

KAYTRANADA. Dijon. Molly Tuttle. We discuss the best new albums of the week with arts critic Amelia Mason from WBUR in Boston.Intro• KAYTRANADA, 'AIN’T NO DAMN WAY!' (Stream)The Starting 5• Dijon, 'Baby' (Stream)• Marissa Nadler, 'New Radiations' (Stream)• Molly Tuttle, 'So Long Little Miss Sunshine' (Stream)• Pile, 'Sunshine and Balance Beams' (Stream)• Joseph Decosimo, 'Fiery Gizzard' (Stream)The Lightning Round• Cassandra Jenkins, 'My Light, My Massage Parlor'• Cass McCombs, 'Interior Live Oak'• Audrey Hobert, 'Who's The Clown' (Read our feature on Audrey Hobert on NPR.org)• Najee Janey, 'Royalty'• Bret McKenzie, 'Freak Out City'See our Long List of albums out Aug. 15 and sample more than 50 of them via our New Music Friday playlist on npr.org.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Happy Friday, everyone, from NPR Music. It's New Music Friday. I'm Stephen Thompson. Each week on New Music Friday, we speak to a member of the NPR Music Network. And today, August 15th, we are welcoming Amelia Mason from WB.B.R. in Boston. Hey, Amelia. Hello. Thank you so much for having me on. Thank you so much for being here. So the music that you're hearing at the top of this show is from a late-breaking album dropping today, August 15th. That's the electronic dance music star K. Trinada. He is one of the most prolific collaborators in the business, but his new record, Ain't No Damn Way, is a solo showcase for his vibe, timeless, R&B-inflected, very distinctively Ketranata dance music. Yeah, we just found out about it, which was very exciting, maybe less exciting for a pre-taped podcast,

but it was very funny to be listening to this, like, in the offices here at WVUR with my little headphones on in, like, an empty office. with bright lights because this is like nightclub music. Did you feel like you were keeping an industry secret? Like every time somebody walked by and saw you, you were like, yeah, I mean, I did do that. I did feel special, yeah.

Well, let's kick off the show. New album from Dijon. His new album is called Baby. So Dijon Dwaynez is a singer-songwriter and producer from Baltimore and L.L. Calicut City, Maryland. It got his start as half of the duo Abi Dijon, which formed at UMBC, University of Maryland, Baltimore County,

where my son is about to go back to school. But Dijon is part of kind of a hard-to-describe sonic movement. I think of him in the same breath as I think of an artist like McGee, the guitarist who, you know, who has become like a huge star and, you know, collaborates on the new Justin Bieber record. It's the sound that is kind of taking Pop and Rock and R&B and twisting it and kind of warping it into something really strange and beautiful. Yeah, I love this record for that very reason.

And it definitely has, it's reminiscent of other things, you know, that are familiar like Bonnie Vair. And I was definitely hearing a lot of prints too. Yes. But I do think he brings his own thing to it. Like, I don't mean to make it sound like it's derivative or something. But it is of a certain, I don't know, an ilk. Like, there's something happening.

like this is hip right now. I'm hearing a lot of it, and I freaking love it. I really, really love the production. I love the production on this album. It's one of the coolest sounding records I've heard recently. Yeah, it's funny. I'm looking at my notes right now, and something I scribbled down along the way.

A lot of it is like Prince and Bonny Verre got tossed into a blender, and I'm here for it. Okay, there you go. Yeah, you said it better than I did. But, like, DeJohn pops up in the song Day One from Boni Vair's most recent album, Sable Fable. a lot of these guys kind of work together

and are kind of constantly bouncing ideas off of each other. McGee has like produced DeJohn records before like those guys have certainly worked together. It's almost like there's a deconstruction going on where you're taking these sounds and just finding ways to make them sound like they've never quite sounded before. Yeah, it's like deeply familiar,

but also completely warped. I mean, he does mix his vocals in crazy ways and does a lot of things to his voice, which I think can make it, I don't know, it's like it's another instrument in a really visceral way. And you kind of have to listen closely to figure out what he's singing, which then sort of forces you to really, really listen and hear all the really cool things that are happening sonically on this.

And then I think moments of like kind of real intimacy emerge in what he's singing about, especially in that first song, Baby. But I'm in the interms. Yeah, well, and so much of what is intriguing about his sound is the inventiveness in the production and the kind of the variation in sounds throughout the record. There's a track early on called Higher All Caps, exclamation point, that's kind of like redlined R&B.

Like his voice is like, is kind of maxing out. And it's kind of creating this effect like his voice is like too, hot on the microphone. And it feels like it's genius. But it's giving this song this kind of cracked sense of intensity. And then you've got the song My Man kind of laid on the record, which shows how well he's able to work in these kind of spare, desolate arrangements where the production kind of gives him the ability to sound like he's hunched over a laptop in his bedroom,

you know, just giving you this maximally intimate experience. But at the same time, you know, over the course of the record, you have some of these sleeker and more sophisticated arrangements. Yeah, I mean, it is very textured. It feels very, like, tactile for production on this record. I especially loved the song Automatic. I thought that was, like, kind of a bop. But still, like, a little bit crunchy and in your ears, it feels surprising and just a little bit challenging, but still incredibly pop-oriented. That is Baby. It's the new album from Dijon. Out today, August 15th.

Next up, a new album from Marissa Nadler. Marissa Nadler's new album is called New Radiations. So Marissa Nadler's been putting out records since 2004. Some of them on kind of official labels, some of them self-released, some experimental, all beautiful. in their own way. This is her 10th official album, and it leans really hard into kind of airy, dreamy folk music. You know, finger-picked guitars, her swoony voice, you know, set against organs and synthesizers and slide guitars. It's just a, it's a beautiful record. It's got kind of a wispy softness to it, but also real heaviness. She's one of these artists who just, she has found her thing. This is what she does. And she does it

incredibly well, and she hones it and changes it a little each time, but she just remains so true to who she is and what she's trying to get across. My experience of listening to Marissa Nadler is like, I start to catch lines, and they're like, I, I grasped them briefly, and I'm like, wait, what did she just say? You know, like something about someone dying, like something about a spaceship, like, and then, you know, but she's just a murder ballad? Is this a murder ballad? Um, yeah, and she is singing about dark things, it's not incredibly personal or autobiographical. She definitely turns that trope on its head. This is not a singer-songwriter who's just sort of openly excavating her own experiences.

Not that there's anything wrong with that, but she's definitely doing something different. She's inventing stories, and they may be very personal. But they have this feeling of being like you're in a short story or a novel or a film, I feel like. Yeah, and like a film, that aspect of it really. jumped out at me in several of the songs on this record. There's a track on this album called Smoke Screen Selene, which, you know, even if the lyrics aren't, the sound is conjuring these images of, you know, dusty highways and empty vistas. You know, as the song progresses and the guitars get a little more ominous and distorted, you really get this sense of almost feeling

like she's singing over film scores in a way. I love how evocative her song talks about. titles are. Like, it really is a case where you can map the song titles to the tone in ways where it's like, yes, this is definitely a song called Bad Dreams Summertime. You know, bad dreams summertime is such a perfect summation of the vibe of that song and of several songs on this record where it's like this lush, verdant sound, but it's also haunted at the same time. On this album in particular, I notice she uses a lot of imagery

kind of about outer space and the stars and looking to the heavens and she's got a song called Weightless Above the Water. That's a beautiful song. You don't think about the danger. To the blue closer from trying again and again. It's really sad. It's very melancholy, I guess I would say, in the same way that you might write a song or see a movie about somebody who's sort of drifting out on the highway alone. She conjures that same feeling, but for someone maybe in a spaceship and maybe in a somewhat science fiction setting.

I mean, you've been talking about outer space and you haven't even mentioned the song Sad Satellite. Oh, that just seemed a little on the nose, Stephen. Which again, though, talk about a turn of phrase that is perfectly matched by the vibe of the song. It feels like a song about drifting out into nothingness. I wanted to mention one other track on this record. It's an illusion, which has these kind of Angelo Badolementi guitars and ethereal voices. And I just thought, man, this feels so of a piece with like the Twin Peaks sound. track. Oh, yeah. You know, and like, it made me miss David Lynch, just hearing that song.

Well, yeah, and he's someone who didn't feel the need to explain his art overly, and he didn't feel the need to, like, give you a story with, like, a clear moral or a clear, like, conclusion to take from it. Maybe you didn't even understand what happened. Like, it's, it was, like, he was delving into the unconscious. And I think she's doing some similar things. Yeah. Both have a great gift for ambiguity. That is New Radiations, new album from Marissa Nadler, highly recommended. We've got some more records we're going to talk about for this week's New Music Friday, but first, let's take a quick break.

From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Amelia Mason from WBUR in Boston. Amelia, tell us about WBUR. Well, I'm so glad you asked Stephen. I didn't even ask anything. I just said, Amelia, go. You ordered me. Fine.

Yeah. I work at WBUR, which is one of two NPR member stations in Boston. We're, like, blessed to have two in the city. That's pretty rare. Two great ones. Yeah, yeah. They're very strong. I love them both.

But WBUR, I work on the arts and culture team in the local newsroom, and we've got several reporters covering not just music, but all arts and culture, which I do as well. I have a really good time doing it. I guess I wanted to plug a couple things. We are working on our annual series called The Makers, which if you live locally in Boston, Massachusetts, or Providence, you can check this out. It's artists in the general greater Boston and Massachusetts and New England area who are up and coming and making an impact. And we also have a couple great newsletters. If you're local, again, sign up for arts and culture newsletter and check out the field guide to Boston, which I find to be a great resource.

for newcomers to the city, but also people who've lived here forever. And people can sign up for that at WBUR.org. Yes, WBUR.org. Awesome. Next up, a new album from Molly Tuttle. Molly Tuttle's new album is called So Long Little Miss Sunshine. So Molly Tuttle is one of the best young guitarists in the business. She's won multiple Grammys.

She's been nominated for Best New Artist. Huge rising star kind of in the Americana space. And this new album is a little bit of a departure. It's her first record to showcase her work on banjo. And, you know, the title, So Long Little Miss Sunshine, is kind of referring to a desire to carve out her own lane. It's kind of stop being such a real pleaser and, you know, stop hiding the real her.

And that comes through pretty uncompromising set of songs. Molly Tuttle comes from the bluegrass world, and she's definitely been, like, edging out of, like, straight bluegrass for a long time. But I do feel like this album is a departure in a real sense. She's embracing a much more pop-oriented sound. I mean, within the, you know, Americana umbrella. And I think that's something that's hard to do.

I think that's a hard transition to make. And she does it well. I feel, I was listening to it. And I was like, why does it work, you know? Because I think often I hear things like this. And I'm like, okay, this is a bluegrass musician who is trying to, like, push outside of that genre, but they might not know the other genres very well, you know, pop or like how to mix it in with what they do really well. I think she does integrate her guitar playing incredibly effectively in these arrangements.

And I also think the songs are just really good. They're the right kind of songs for this type of treatment that she's doing. And that's why I think it works really well. Yeah, at its best, this thing is magical. There is a song on this album called The Highway Nose. I love that one. Yeah, that's one of my favorites. Every travel around life's road needs a companion

to ride along through the rain and storm across the desert canyon. Found a friend when you jumped in. I mean, it is so good. Amelia, are you familiar with the subgenre Rose A Wave? I know you guys are very into it. That's our, that's an NPR music. It's a creation of our wonderful colleague, Lars Gottrich, and Lars, Lars, you know, kind of created the rosé wave moniker to kind of capture a certain vibe of like very light, summary, joyful music that in a sense, like, kind of finds a way to transcend its own basicness. And like, and I don't, and I don't mean that as a pejorative at all. It's a vibe that is enormously appealing. And the highway knows to me is like,

released straight into a rosé wave playlist. You know, it's like, it feels like Shania Twain crossed with like Lilifair era 90s singer-songwriters. It has a nostalgic quality. In like, in like such a magnetic way. And then, you know, kind of along the way, she manages to like unleash this righteous solo. I mean, the solos are really cool, but they don't, they don't suck the air out of the way at all.

It's all about the songs. Like, it's all in service to the songs. Summer of Love is one of my favorites. I think that one, it's in the second half of the album, which I enjoy a little bit more than the first half, for some reason. It's a little more subtle, maybe, in some ways.

And that song, I just, it feels really nostalgic. I want to listen to it with, like, the windows down to my car. Not that I have a car. But if I did have a car, I'd be listening to it. Makes me want to acquire a car so that I may roll down the windows. Yeah. What I'm saying is it makes me want to buy a car.

No. Yeah, it's just one of those songs. feels good. Guitar could start. Yeah, that song really feels like a throwback to like early kind of country pop era Taylor Swift. Good call, yeah. Without seeming unnecessarily derivative of Taylor Swift. Yeah.

And later on the album, as you said, you get some really strong mission statements as this album rolls along. There's a track called Old Me New Wig, which is the song that contains the album's title, you know, so long Little Miss Sunshine. And, you know, it's a song kind of about getting tougher with age. And the title kind of refers to something that is born out in the album art. It contains a bunch of pictures of Molly Tuttle in different wigs. And then there's a photo of her with no wig, no hair at all.

Molly Tuttle has alopecia and generally wears wigs, but, like, is seen in the album art in her natural state. And that really ties into the overarching themes of this record. as something that is like, this is who I am. This is what I'm all about. This is what I have always been. And whatever face I've had to put on, that's fine. That's been my prerogative.

But this is who I am. Yeah. And this isn't the first time that she's been open about her alopecia and how that's affected her. But I do think she's owning it, at least in the visuals, really strongly on this album. And she's talked a lot about just how hard it was to kind of get past her insecurities

about what other people might think, especially as a performer. You know, you're on stage, and there's just so much scrutiny on you. So, Amelia, we've been... We've been dancing around the ocean in the room. We've been dancing around one... One song that I think you and I agree

on an otherwise terrific record that is a gigantic misstep. You don't like it. About midway through the album, Molly Tuttle, and it's a bold choice, but she covers the iconopoe... slash Charlie X-CX song, I Love It. And in its original form, that song is very much like kind of a middle finger extended, just like big, profane banger.

And then Molly Tuttle kind of does her take on it here. Now, Amelia. Stephen. I was going to let you go first. I think we have different reasons for disliking it, but I want to hear yours. For me, this song really benefits from a sense of momentum. This is a hard-charging song. Molly Tuttle has the ability to perform with colossal speed and dexterity,

but here she chooses to make the song wispier and more ethereal, complete with kind of rising inflection that I just don't think works at all. Yeah, I was surprised that she covered this. this is not a song people cover. I think I came to a slightly different conclusion, but I think you're right that you make a very good point, that the appeal of the original was its energy and brashness. And honestly, I don't really like that song to begin with that much.

See, no, we disagree there because I love that song. Yeah, well, it was like incessant for a while, which may have, like, made it, made me. So you're already taking your wrist there. If you're picking a song that was incessant but not considered a classic exactly, then you've sort of laid bare what the song is. And in my personal opinion, this song cannot stand up to this treatment. Like, if you're going to cover a song,

the pleasure in a cover partly is that it's familiar. And I think this mostly is riding on that appeal. And unfortunately, I think the relative vapidness of this song, in my opinion, is just sort of laid bare. I just don't think it has a lot to say as a song, I guess. Misbent talent. Yeah. On an otherwise really magnificent record.

That is So Long Little Miss Sunshine by Molly Tuttle. Next up, terrific new record from the band Pyle. It is called Sunshine and Balance Beams. Pyle is a band from Boston. and they are worshipped here. I went back and found a profile I wrote of this band from one decade ago. And it wasn't even their first album.

No. They've been going at it, and I would put them in kind of like the DIY post-hardcore space. So this is music that certainly isn't of mainstream appeal, but really has a following here. And this record, I think, is sort of exemplary of the sound that Pyle has created over the years. Yeah, my immediate take listening to this,

record, which I loved, and I was not terribly familiar with their discography. My immediate thought was, man, this would have ruled college radio in 1993. In my day, this would have been huge. Well, they are in a way in our day. Yeah. In their way. Yeah. There's a track on this album called Bouncing in Blue. Someone I was going to bring up. Yeah. Yeah, boy, this is such a great song. It starts out, kind of slow burn, but then all of a sudden it just creans into something more and more intense. This band started out a long time ago as a solo project of its lead singer Rick McWire who writes the lyrics and fronts the band.

And the way he writes, it's just very distinctive. Bouncing in Blues is a great example of that. If you listen, the first half of that, the beginning of it is, as you say, it's quieter, it's slower. He writes in, like, rhymes, and I imagine if you condensed it, it could have been a more sort of conventional song, but he just stretches it out over these longer phrases. And then he often, like, he puts the emphasis on the wrong syllable, you know? It's like, it's just never what you expect.

And then it goes crashing into this crescendo, riffs for days, you know. one of the things about Pyle that's always been true is that I find the experience of listening their songs like you just don't know where you're going like you don't it you can never settle into that comfortable like verse chorus kind of like I know what's going to happen next and it's interesting that we're saying this like there's no there's no fat there's no excess but at the same time sometimes you take apart these songs there are two different songs that I really love on this record one is called holds and one is called carrion song and you know Carrie-on-song closes the record. Both of those songs have string coda's, but those strings

don't sound jarring. They don't sound out of place. They belong there. And so the fact that we're able to talk about this record as like, I'll kill or no filler, nothing, not a minute wasted. While at the same time, the songs have these radically different components kind of clashing with each other really speaks to how assured this band is in its songcraft. I think one of the big challenges for bands like Pyle, of course, is it's a live band. That's where their fans are meeting them for the most part. So learning to, like, translate that to the studio. That's always a journey for bands that are essentially,

that were sort of born in the live element. And I do think they're getting more inventive and creative and, like, willing to take, like, these sort of sonic excursions. Great band. That is Pyle. Their new album is called Sunshine and Balance Beams, We've got one more record we want to talk about in-depth, as well as a lightning round of some of the other records out today, August 15th. But first, let's take a quick break.

From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Amelia Mason from WBUR in Boston. Next up, a new album from Joseph DeCosimo. It is called Fiery Gizzard. Out of red and out of green, prettiest thing I've ever seen. Seen, seen, seen above the beam. Prettiest thing I... Joseph de Cosimo is a banjo and fiddle player and singer based in North Carolina.

He plays traditional music from Appalachia and the South, and I love this album. I would put him in a category of traditional old-time players who are very studied in the tradition, but are really pushing the sonic boundaries of old-time music, as they would call it. And he really just does a beautiful job with all of the repertoire on the set. album. Every single one of these songs, except one, I think, are actually traditional. So they're sourced from players of yore. And probably also many of them are played currently at jam sessions and stuff like that at festivals. But what he does with it is really different. Yeah, my first thought listening to this record is just that it is, it's so warm. You know, I immediately thought to myself,

There's a track on it called I Had a Good Father and Mother. And, you know, it's, it's, you know, showcasing not only his playing, but also this kind of plaintive, reflective vocal that just serves the song so beautifully. It's not a, it's not a flashy vocal, but it's really grounding to the song. Now they're in bright glory. I know their soul. He had a good example. He taught me how to praise. Yeah, it's gorgeous.

You know, something to know about this music is it's usually performed on just acoustic instruments, fiddle, banjo, guitar, bass, you know, stand-up bass. Banjo is the instrument that he plays most on this record, but also has other folks playing melody. And then there's like synths and there's percussion. I think there's a sort of ambient experimental edge. And there are others doing similar things like Sam Amadon, Kuik Shre, who's on this record, is also somebody who's sort of working in that space. And I was thinking about it.

I was like, why does this work? Like, when you take old music and you put new instrumentation on it, maybe you have a really reverby electric guitar, which I think he does at some points, you always risk making it sound like, ah, it's banjo with drums. Like, I don't know.

Like, it could be hokey when you describe it. But this is like fully, fully realized and integrated. It all makes sense. Well, there are a lot of kind of shimmering resonant sounds. There are several tracks in particular. There's a track called Shady Grove that really has this droning quality. And I think, you know, that makes these songs sound classic and current at the same time. Yeah, this is one of the things that about the old time scene is people are very studied.

And actually, Joseph de Cosimo is too. He has a PhD in old-time music. And this is music that has been collected and archived, and people go back to the source recordings and often can talk about, well, I learned it from this person at this festival. And that's a beautiful thing. But I also think can feel limiting. It means everybody is so careful about paying homage to the right people

and doing everything properly and understanding, like, where all this music came from. so that it's not coming out of a contextless sort of situation. He understands all of that. He knows it really well, but he's not limited by it. Well, and every once in a while, he's evoking other artists that aren't necessarily that old time. There's a track called Pretty Fair Made. Pretty Fair Made.

In many ways, it's a piece of kind of rustic Americana, but the song has this kind of cracked, beauty to it that reminded me of one of my favorite singer-songwriter's Richard Buckner, where there's beauty, but there's also just like a certain nerviness to it. And so it's not necessarily just evoking old-time music. It's evoking other artists I've fallen in love with along the way who maybe have one foot in older music. Yeah, it's looking back, but it does not feel nostalgic to me.

Yeah. It doesn't feel like fetishizing of like an old kind of music. It's like, this is a living tradition. Then you can hear everything that he's hearing coming through. That is Fiery Gizzard, new album from Joseph de Cosimo. Amelia, we could not possibly get to every terrific album out today, August 15th. So we wanted to do a lightning round of some of our other favorite albums out today. I'm going to kick us off.

Last year, the singer-songwriter Cassandra Jenkins put out a magnificent record called My Light, My Destroyer. It's full of warm, wise, lived-in observations about human nature. And now that record is getting a mostly instrumental companion piece that is engineered very deliberately to be as soothing as humanly possible. Just in case you want to feel calmer and more comfortable in your own skin. I don't know why you would. You should check out this record. The vibe is right there in the title. It's called My Light, My Massage Parlor.

Caspa Combs also put out an album this week. It's called Interior Live Oak. I really, really enjoyed listening to this record. It has beautiful melodies. It has his sort of classic, evocative, poetic, enigmatic songwriting. I could just listen to it over and over. about who stays in the goal. The pop singer Audrey Hobart is probably best known for co-writing a few hits with her childhood friend Gracie Abrams,

but Hobart's own music exudes a distinct personality of its own, funny, quotable, deeply catchy. Her songs feel equally suited to kind of summery porch hangs and viral TikTok fame. My brilliant colleague Isabella Gomez Sarmiento is a huge Audrey Hobart fan, and Issa just wrote a feature on her. to link to that piece in our episode notes. Audrey Hobert's new debut album is called Who's the Clown? And being a sane as exhausting. To me, I want to be wanted.

Najee Janey is a Boston area rapper and singer, and he's got an album out today called Royalty. Najee Janey is well known in the Boston area. He's really talented and very versatile, I think. He can sing and he can rap. I think royalty is really cool. It shows his range. And it's got some really fun songs that showcase his ability to shift and be somewhat chameleon-like and really play around with his voice.

So, yeah, royalty by Najee Janey. It's one of the great albums out today. Finally, something unexpected to close out your week. Brett McKenzie is the Oscar-winning half. of the New Zealand musical comedy duo Flight of the Concords, who've made some of the funniest music of the 21st century. Now he's got an album that is largely free of jokes. It's a charmingly breezy record that recalls classic singer-songwriters

from Billy Joel to Randy Newman. Brett McKenzie's new album is called Freak Out City. Now, Amelia, we have reached the part of the show where we put each other on the spot and call upon ourselves to pick one song from all our preparation for this episode that we are going to take away as our very favorite. Well, it was hard to choose one song. Sometimes the song just pops out at me, but I was really enjoying the album experience this week.

However, forced to choose. I did choose Billy Button by Joseph de Cosimo. I love this song. It is so beautiful. but it's also kind of like a nursery rhyme gone wonky. Hog me, I got plenty. Sheep meat's too good for the fella. Bram lamb sheep mutton, good enough for Billy Button

and any other living glutton. Walking Joe, I'll be your friend. It's a long way to travel with money for to spend. I don't know, talking, ginger blooming double, double trouble I'm bound for the happy land of Cana. The old Tom Caird. I don't know how to choose. Like, how do you choose, Amelia, between... Wait, have you really not chosen yet?

I often do this on the fly. How do I choose between bouncing in blue from that pile record? You know, that song that just, like, takes you in so many directions at the same time, versus a perfectly straight ahead song like the Highway Nose from Molly Tuttle, which is just like a perfect piece of rosé wave. How do you... I think you're trying to do both, and I think you're cheating. You're not wrong.

All right, fine. But it's your podcast and you can do whatever you want. No, you've shamed me into submission. I'm going to go with Bouncing in Blue from Pyle. All right. Just a killer, killer song. that contains multitudes. It contains two vastly different songs.

The first is just kind of setting you up for the wallop of the second. And I just kept coming back to it. I just listened to that song over and over again. So I'm going to go with that, bouncing in blue by pile, but so much other great music out today, August 15th. That is our show for this week. Thank you so much, Amelia Mason, for taking time out of your week at WBWR in Boston. It was my pleasure.

I had such a good time. It has been a joy to have you. If you enjoyed this week's show, we always appreciate a positive review on Apple or Spotify or whatever app you're listening to right now. This episode was produced by Vincent Acovino and edited by Otis Hart. The executive producer of NPR Music is Soraya Mohamed. We'll be back next week to discuss new albums, including the return of Nourished by Time, with Tad Cautious from Vermont Public.

Until then, take a moment to be well. Brew yourself a great big batch of ice tea. and treat yourself to lots of great music.