NPR Music - New Music Friday: The best albums out Aug. 22

Episode Date: August 22, 2025

Nourished By Time. Mac Demarco. Earl Sweatshirt. Stephen Thompson and Vermont Public's Tad Cautious discuss the best new albums out this new music Friday.The Starting 5:• Nourished By Time, The Passionate Ones (Stream)• Pino Palladino & Blake Mills, That Wasn't a Dream (Stream)• Greg Freeman, Burnover (Stream)• Kathleen Edwards, Billionaire (Stream)• Mac DeMarco, Guitar (Stream)The Lightning Round:• Laufey, A Matter of Time• Sombr, I Barely Know Her• Ami Taf Ra, The Prophet and the Madman• Deftones, private music• BigXthaPlug, I Hope You're Happy• Teyana Taylor, Escape Room• Night Owls, Versions II• Kid Cudi, Free• Earl Sweatshirt, Live Laugh Love• Ghostface Killah, Supreme Clientele 2See our long list of albums out Aug. 22 and sample dozens of them via our New Music Friday playlist on npr.org.CreditsHost: Stephen ThompsonGuest: Tad Cautious, Vermont PublicAudio Producer: Noah CaldwellDigital Producer: Elle MannionEditor: Otis HartProduction Assistant: Dora LeviteExecutive Producer: Suraya MohamedSee 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. Every week on New Music Friday, we speak to a member of the NPR Music Network. And today, August 22nd, we are welcoming Tad cautious from Vermont Public. Hey, Tad. Hey, how are you doing? I am doing well. It is a pleasure to have you on the show. Welcome to New Music Friday. Likewise. Thank you so much. I'm excited to talk about all these records. Yeah. So before we start, I want to just state up front. It is an odd release week. Basically, there have been a ton of kind of late-breaking titles in pop and R&B and hip-hop, which made it tougher than usual to plan. This time of year always sneaks up on us. It's always a little frantic because we're coming up on the end of the eligibility window for next year's Grammy Awards. So the way we decided to deal with the glut is just pick five new records we love, regardless of popularity, regardless of how they're going to perform or not perform on the charts

or in awards shows, and then present for you a super-sized lightning round at the end of the show. So in the meantime, let's kick off the show with Nourished by Time. Nourished by Time has a new album called The Passionate Ones. So Nourished by Time is the kind of pseudonym for a singer, songwriter, and producer from Baltimore named Marcus Brown. Kind of a self-taught polymath who combines minimalist. R&B, synth pop, new jack swing, lots and lots of different sounds all kind of crashing against each other in really intriguing ways. Kind of feels of a piece with a lot of these artists we've been talking about more and more

people like Dijon and McGee and, you know, people who are kind of deconstructing pop and R&B and kind of finding new ways to make it sing. Yeah, and it's sort of in a time outside of genre when we're sort of a TikTok generation of like all things being considered on the same level. There's a real bravery to the way that he just sort of blends all those influences. Yeah, and like many artists in this genre, you know, he has kind of a background in home recording. He recorded his first album, Erotic Probiotic 2, in his parents' basement during COVID. And so you just kind of get a sense that nourished by time, like other artists in this field,

there's really something to this self-taught quality. Just being a music obsessive and just pulling from every genre that has ever interested you in ways that, you know, that still sound in many ways like pop music. There's a track on this record called Baby Baby, that is just so busy and chaotic, and it's just throwing every sound at the wall. I'm so glad to hear a record like this where he can be as passionate or as weird as he wants to be. It does really feel like a music enthusiast's album.

They're not trying to put themselves across as, you know, gosh, I should be a dance artist, I should be a rock artist, I should be like an R&B artist. There's a representation of each of those to just kind of take a little holiday into one style and into another. And the overall effect is you get the sense that this is just a very creative, passionate person. I use the word passionate a lot. I think it's a really great title for this album because it is, it's so unabashed and passionate. It really reminds me of the album title, the passionate one, sort of recalls the beautiful ones, the Prince song from Purple Rain, which has all of that sort of operatic, melancholy, and kind of unhinged emotion. So for me, I don't know if it was meant to be that way, but that's what it recalled for me.

I definitely had that same thought, and I agree with you that it's a really effective title. It's also worth noting, you know, we've been talking a lot about the sound, but the substance of this album is in the lyrics and is in kind of some of the themes that are creeping into these tracks. There's a song called Cult Interlude that really dials up something much more unsettling. It gives the sense that this record is about more than just kind of letting genres collide. There's also commentary about online isolation, about, you know, the loneliness epidemic that so many people are talking about, about indoctrination and kind of the ways that, you know, that we get sucked into into this stuff online. So, you know, he not only is like a throwback to Prince or, you know, or, you know, like working in this kind of new deconstructivist genre. He's also somebody who's doing a lot of deep thinking about the world. How do you get someone out of it?

There are many different kinds of it. How do you have many different kinds of authoritarian rules? Let me get someone out of it. And with a cult, you really question sort of the fundamentals of what you believe in. You're just kind of replacing the foundational beliefs of your person. And it does feel like he's grappling with that. And, you know, with the sort of slipperiness of online truth these days, it does seem very, of, the time.

The recent decades, some of the most notorious American cults include The Passionate Ones. That is The Passionate Ones, the new album by Nourished by Time. Next up, an album by Pino Pino and Blake Mills. It's called That Wasn't a Dream. So Pino Palladino and Blake Mills are two of kind of the great collaborators and all-around gearheads in music right now. Pino Pino has worked with every. one. He's worked with, you know, nine-inch nails, DeAngelo, Erica Badu, John Mayer, kind of a go-to bassist and,

and, you know, all-around collaborator. Blake Mills is, you know, one of the best producers in the business. He's worked with Bob Dylan, Fiona Apple, the Alabama Shakes. But together, they're making kind of instrumental music that has a real kind of liquid quality to it, but it doesn't fade into the woodwork. There's, there's tension, there's percussion, there's a vibe that is more than just a vibe. Yeah, I was listening to this thinking, gosh, is this a jazz album? It doesn't really have any of the markers of jazz, and both of these guys have pop bona fides out the wazoo. But what it does have is that same sort of sophistication and inquisitiveness and indulgence into setting out really ambitious themes and then following up on them.

Absolutely. And there's one track on this record called Heat Sink that is almost 14 minutes long. And it is really, you know, taking you on a, on a, on a, on a, on a, kind of an epic journey. I mean, if you're going to, if you're going to sprawl out for 14 minutes, it'd better be an epic journey. But the rest of the songs on this record are, are pretty compact. They, they, they feel at times kind of like little pocket, you know, jazz pieces. But at the same time, they're, there, they're, there, even though there are no vocals, there's always a voice. You know, sometimes that voice is, is, you know, percussion. like in the song Taka, you know, that has this real chugging quality to it.

At other times, there's a real sense of discord, a jagged quality. There's a track called Some Nambulista, which takes the jaggedness to a place that almost, it's almost unsettling. Like, whatever you call it, it's not smooth. That's one of the things that I really love about this record and also about Blake Mills' production overall is that as a producer, he's created this really singular world where he can bring in these super weird sounds, and they don't alienate, they don't sound pretentious, they take you to a weird place than you think you would normally go. Yeah, and I think that's part of not only the appeal of this record, but as you say,

kind of their appeal as collaborators. The great gift of a true collaborator, especially somebody who's working with kind of major stars who still have like very, very strong artistic impulses, is you have to have a willingness to follow people down some strange, blind alleys. You know, you have to be willing to take beard turns and follow ideas that may not seem like they're going to work in the moment, but you have faith in your collaborators. Yeah.

I like what you were saying about how they can follow each other, because both as a producer and as sort of the quintessential consummate sideman, they're good at enabling another musician. And so they're listening and following and really going to places that you wouldn't get with a sort of a marquee artist. Yeah, it's a really intriguing record. If you've ever seen their names and liner notes and wanted to hear more, this is just a really intriguing kind of side road for both of them. It's Pino, Palladino and Blake Mills. Their new album is called That Wasn't a Dream.

We've got some more records we're excited to talk about. But first, let's take a quick break. From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Tad Cautious from Vermont Public. Tad, before we start talking about some more music, tell me about everything you're working on. Yeah, I just started a new show with Vermont Public about three months ago or so, and I'm just overjoyed because it's the station that I grew up listening to.

It's the station that I really came to love public radio on, so now working with them is such a dream. It's a fantastic station that really reflects, it's kind of everything that you want in local public radio. It reflects the character of Vermont, which is so idiosyncratic and diverse and fun. And they also just won, I should mention, an Edward R. Murrow Award for reporting on the eclipse. So just amazing local news reporting and music. That's wonderful. Now, you're also doing something with Sirius XM with Fish? Yeah, so a long time ago, back when Fish started doing their festivals back in 1996, they had the wild idea of having an on-site radio station, a low wattage radio station.

It would not only broadcast the band's sets, but also traffic and safety information. And then in the other, you know, 20 hours of the day, just be a free-form radio station along the lines of like a college radio station. So I've done that a dozen times over the years. and then during the pandemic started kind of a weekly little installment in exile of festival radio on Fish's Sirius XM channel. The station and the name is called The Bunny, and that happens on Friday nights at 6 p.m. Nice. I'll have to check that out. Yeah. All right. Well, next up, we've got a new album by Greg Freeman.

Greg Freeman's new album is called Earnover. So I appreciate the way that Greg Freeman kind of bridges our two worlds, Tad, because Greg Freeman is originally from Bethesda, just up the road from where I'm currently sitting in a closet. Now he is based in Burlington, Vermont. Where I'm currently sitting in my bedroom. Where you are currently sitting in your bedroom. And listening to this record and kind of reading up on Greg Freeman,

You know, his background is kind of as an alt-country singer, but as you listen to this record, you get a little bit of a seep of twang into it, but it's more like twangy indie rock than alt-country. And at times, he really manages to, you know, not only craft kind of big anthemic rock and roll, but sometimes put together something that's really riffy and shambolic. Yeah, it really is undefinable,

and it escapes the traps of the singer-sendero. songwriter genre or the alt country sound where you could put across a perfectly good record, but he's incorporating so many sort of, yeah, like you said, shambolic, like almost jazzy influences, but without sounding, it all blends together somehow, without sounding pretentious or reaching. There's, you know, one of the things I want to celebrate about this record is that there's a saxophone on it. Like, you know, the saxophone has been such a huge instrument in pop music over the years and hasn't really made a comeback. You know, it gets attached. to like careless whisper or, you know, Junior Walker and the All-Stars,

but there's a saxophone on this record that somehow fits this rock setting or this modern indie setting. There's also a lot more unexpected instruments in this than you usually get in sort of an, you know, quote-unquote alt-country or singer-songwriter recording. There's strings, there's, you know, xylophones, and it does sound like a, you know, a thrift shop being thrown down the stairs sometimes. in a rhythmic and exciting way. I appreciate the way this record, you know,

you mentioned kind of the instrumentation and the willingness to like bring in saxophones and stuff like that. One of the things that that does is it really disconnects this record from a sense of any specific moment. And I think that really works in its favor. At times it feels like a kind of a 90s indie rock record.

At times it feels like a late 80s, singer-songwriter record like a Marshall Crenshaw or somebody like that. There's a track called Gallic Shrug, you know, which is kind of a mid-tempo jam and it meets in the middle, I think, between Alt Country and Power Pop in a way that really reminded me of the student radio station I couldn't quite hear from my tiny hometown of Iowa, Wisconsin. Yeah. Where I was like constantly adjusting the dial, trying to hear college radio. This sounds like what I should have been hearing. Yeah, you're right that it doesn't feel bound in by any specific era.

Like, there's more than a little Springsteen in there, too, when you're talking about sort of a Rust Belt town that's had a tragedy happen. Also, there's a little bit of, like, D. Boone of Minuteman in there, and Alex Chilton, and also Meat Puppets, too. Oh, sure. Just that kind of rambling, psychedelic indie rock country. You know, you end up saying a lot of, these words, these genre words, because they don't, they don't, it's like put them, put them all in a

blender and then you get this, you know, chunky, uh, brine. Yeah, well, chunky is a good word for a track like gone can mean a lot of things, you know, which is kind of leaning pretty hard on his heavier side and, and being really unafraid to just dispense massive riffs. You know, there's a, there's a, another kind of, you know, anthemic rager called point and shoot, you know, which is just like big, ringing rock. And again, you know, we kind of keep coming back to this point about an album that's kind of out of time. That kind of stuff is where being out of time really works in your favor, because these songs would work in any era. And it's lyrically ambitious, too, when we're talking about that sort of all things included.

It shows kind of this fire hose of phrases and images. Looking at his website, he's got the lyrics all printed out in a solid block of text, which is kind of the way that it strikes you. A lot of these lines or images or phrases will just kind of wow you with the sound of them before you really kind of parse out what the actual image is. So that's fun and ambitious. Yeah, and at the same time, he does have a more pensive side that comes through. In some of these tracks, there's a track called Sawmill,

which you were mentioning kind of the instrument. instrumental diversity on this record, that's bringing in strings, you know, that it wears really, really well. So it's not just this like kind of lunch pale, you know, working man's rock or whatever. You know, he's also weaving in a lot of different stuff. Yeah, and he can for sure dial it in on a song like Burnover, which is kind of a Springsteen-esque telling of a small town story. So, yeah, there's these kind of bigger, kind of rolling more sort of psychedelic. lyrics. And then there's a real straight retelling of a classic

story as well. Yeah. That's Burnover, new album by Greg Freeman. Next up, Kathleen Edwards has a new record. It's called Billionaire. So Kathleen Edwards is a Canadian singer-songwriter. Put out her first record all the way back in 2002

with Failure. She's been kind of a critic's favorite for nearly 25 years now. And has put out you know, a string of, you know, beloved records. But at the same time, you know, over the course of her career, she's kind of dipped in and out of music. You know, famously in 2014, she quit music to open a coffee shop and called it quitters. Yeah, I love that. I love that. And then, you know, came back, you know, with her, you know, first album in eight years, you know, called Total Freedom in 2020,

you know, which is kind of in part about, you know, leaving it all behind and kind of figuring out what you, you know, what you still want in your life. And now she's back with her first album in five years. And for me, it just picks up right where she left off. She is just, she is such a welcome voice. And I respect so much that choice of your own, choosing your own life over some kind of perfect career arc that people have laid out for you. I was thinking specifically regarding her sort of how much we demand of our artists, that listeners demand that artists be these pure people who, you know, live on air and must stay dedicated in this really unsustainable way. So to know that someone is taking some time to be a person in the world, when they come back, it just means so much more. You know that they're at the helm.

Listening to these songs, you really get this sense of somebody who has spent those years' observer. the world and finding new things to say and new ways to say them while still having real kind of instrumental heft to it. You know, there's a, there's a, you know, kind of a bluesy rock epic on this song called Need a Ride. And, and, you know, as the song is kind of unfurling, you get these Neil Young style guitars, you know, kind of kind of billowing in, but then you listen to the song and it's, it's, it's this rumination on like how worked up everyone is nowadays. So you listen to the song and you're like, oh, this is somebody who's been paying attention. Yeah, there's a real authority in her singing voice and then also just in her, the voice that's

writing the record that that's confident, that it takes its time. And even in the writing, you know, there's, she can write up, she can write the heck out of a pop song just with like syllables that hang on to a rhythm or she can kind of drift off to, um, to, to say whatever she needs to say, there's an expert level to that, almost like a jazz player who knows the head, but is going to riff on it. Yeah, and, you know, I, you know, sometimes it's easy to kind of get bogged down in comparisons, but there were comparisons that were springing up for me again and again in a really positive way of other lifers, of other, you know, people whose humanity and lived experiences really come through in their songwriting. And the two names that I came back to,

again and again were Laura Veers and Nico Case. And, you know, she and Laura Veers kind of share this ability to, to kind of allow songs to unfurl as conversations. Yeah. You know, in ways that you're able, if you kind of follow either artist's biography, you get a sense of, you know, what this song is saying about where she was at that point in her life. And that's, you know, somebody who, you know, both of those artists are, you know, artists who are now decades into their careers and still finding ways to stay vital.

You know, the VIRS comparison for me really came through in this kind of billowy singer-songwriter jam called Save Your Soul, you know, which is so, it's catchy and it's clever, but it also just feels really lived in. I remember in the 90s hearing Beck talk about Neil Young, where he was kind of a young artist at the time looking to Neil Young saying like it's it was hard for him for Beck in the moment to see what the future looked like and here was Neil Young being like oh here's something that I could grow up into here's somebody who's really led their own career in a self-driven way that that didn't pander and that took its own time so in a similar way both Laura Viers and

Kathleen Edwards are really creating these trajectories that future artists can follow that That is Kathleen Edwards. Her new album is called Billionaire. We've got one more record we're going to talk about in depth, as well as a supersized lightning round of some of the other albums out today, August 22nd. But first, let's take a quick break. From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Tad Cautious of Vermont Public. Before we get to the aforementioned supersized lightning round, let's talk about a new record by MacDemarco. Mac DeMarco has a new album called Guitar. So Mac DeMarco has been making kind of DIY, kind of slackery indie rock. He's put out a string of records of EPs and side projects and compilations, all really kind of done on his own strange terms. And this record really feels like the work of one person,

making the record that he wants to make in the moment. This record was made over the course of just 12 days in November, written and recorded over the course of 12 days in November of last year, at his home in L.A., and you just get a portrait of an artist. You know, this is a theme we've talked about kind of throughout this episode, an artist making exactly the music that he wants to make in that.

moment. I hate to say that it's mature as an artist who has been so, so sort of, you know, youthful and and ragged and roguish, but it really does show you a side of him that

is at home. I think when you're young, you're traveling a lot, whether you're doing it physically or, you know, through different beliefs or masks of yourself or relationships, but then when you, when you when you really arrive at home,

there's this peacefulness and a side of yourself that you kind of have to get to know. This word is so easy to throw out in a conversation about this record, but this record is so intimate. Yeah. This record is so, like,

you really are just getting a portrait of somebody who is really fearlessly presenting a side of them that they've certainly, I mean, MacDMarco's music has been all over the place. So it's not like he's never explored, you know, this kind of quality before, but really getting it kind of contained in one record with like 12 songs in 32 minutes. The longest one is like three minutes long. These are, these are you know, kind of portraits in miniature. That's really sweet and really impressive in its own way.

And, you know, there's a track on this album called Rock and Roll, you know, and appropriately enough it kind of gives guitar the album its title because while it's kind of a sing-songy, you know, little kind of simple ditty. It's also got a bunch of kind of gnarly guitar solos that are, you know, proficient, but also a little janky in ways that really feel consistent with the whole tone of the record. Yeah, I love the kind of Richard Thompsonness of those guitar solos. It just like reminds me of trying to be Richard Thompson in my, in my bedroom myself.

This record feels focused to me. It feels like some of my favorite most. focused records, you know, Nick Drake's Pink Moon, certainly. Robin Hitchcock's album I and Blue by Joni Mitchell, there's these real sort of, I don't want to say the word again, but just, but focused statements from an artist that feel like they're in their home making some kind of getting to know themselves or presenting a grown-up version of themselves. That is Guitar, the new album by Mac DeMarco.

So as we've hinted throughout the course of this episode, there are a ton of new albums out today, August 22nd. We could not possibly get to all of them. So we are going to do a supersized lightning round just to cover some of what is out today. I'm going to kick us off and I'm going to go, I'm going to do two at a time. I'm going to kick us off with Levei. She's an Icelandic singer-songwriter. She's become a global superstar on the strength of a timeless kind of classic pop sound that's informed by jazz. musical theater, classical music, and the Great American Songbook.

Her ability to bring vintage sounds to the TikTok generation has made her a massive star as well as a Grammy winner. Her new album is called A Matter of Time. The skyscrapers causing vertigo. The countdown begin. 27 days alone means 20 million ways to cope with us. The singer-songwriter known as Somber. That's Somber without the E

is a 20-year-old Gen Z star who's had a massive year. He's blown up on TikTok, had multiple hits, and is now releasing his full-length debut album as he mounts a campaign for best new artist consideration at next year's Grammys. Mark it down, that's probably happening. And he's doing it with songs that sample from pop and rock and R&B

in propulsively catchy ways. Somber's new album is titled, I Barely Know Her. For the late. In the lightning round, I wanted to highlight a record called The Prophet and the Madman. It's this wildly ambitious and really impressive debut album from singer Amitaf Ra. She's a longtime collaborator of Kamasi Washington, who also produces the record. The album features a number of musical settings of Khalil Gibran poems, just these deep, spiritually resonant lyrics,

and also arrangement-wise has this appropriately, beautifully, beautifully wide-sweeping, grand, broad sound that we've come to associate with Kamasi Washington's work. It's just a feast of an album. So we didn't get an advance listen to the new Deftones album, but the metal powerhouse is back with its 10th full-length record in 30 years, and the two singles that have come out give reason for big-time optimism. These are thundering, swirly, catchy, hypnotic swirls of metal and shoegays, the work of a band that hasn't lost anything off its fastball after all these years. Def Tone's new album is called Private Music. Country and hip-hop have proved to be a hugely lucrative mixture, as folks like Shibuzi and Lil Nas X will gladly tell you.

The rapper Big X The Plug has already had a huge hip-hop country crossover this year with his Bailey Zimmerman collaboration all the way. Now he's got a full album of country collaborations with guests like Darius Rucker, Jelly Roll, Luke Combs, Thomas Rett, Ella Langley, and more. Big X, The Plug's new album is I hope you're happy. the right person but y'all never get along i hope you know that you ain't writing you're so good at burning bridge i hope you finally find some love and every day he hurt your feeling i hope you i hope you turn your heater on and it blow cold i hope you leave your car running at the store and it gets stoned i hope you have a nightmare every single day of your life i hope you have a bad morning and one hell The other record I wanted to highlight in our lighting round comes from one of my favorite independent record labels F-Spot Records out of Los Angeles.

And it's a project by a band called The Night Owls. They're kind of a house band, like a studio band in the tradition of the Funk Brothers and the wrecking crew. The album is called Versions 2. It's the second collection of classic soul covers done in a traditional Jamaican root style reggae, rock steady, lovers rock. Each one features a different singer, everyone from Eli Paperboy Reed to Holly Cook, and it just feels like a party and something that you want to own on vinyl. I got a vinyl copy, and I've been putting it on on Friday nights and Sunday mornings. Just a super fun record of classics.

The R&B singer, songwriter, actor, director, and all around polymath, Tiana Taylor hasn't released an album in five years, but she is back with an ambitious new set of songs that, Other things comes with an army of heavy-hitting narrators. Her songs have loads of guest singers and producers, big names like Lucky Day, Jill Scott, and Kay Trinada. But the narrators are arguably even bigger names. Taraji P. Henson, Sarah Paulson, Nisi Nash, Issa Ray, Carrie Washington, Regina King, on and on. Tiana Taylor's new album is called Escape Room.

And finally, I want to do this. a quick even faster than a lightning round, lightning round, sub-lightening round of hip-hop titles out today. First up the rapper, singer, actor, all-around omnipresence. Kid Cuddy returns today with a new record called Free. Then the arthurst dark times walking on a sad line. Odd Future Veteran, an adventurous rapper in his own right, Earl's sweatshirt, is back with a new fifth official album.

It's called Live Laugh Love. And speaking of superstar rappers who've emerged from unpredictable collectives, the Wu Tang Clan's Ghostface Killa is back with his latest of many albums. It is called Supreme Clientel 2. So Tad, I am going to ask you an impossible question. You want to have listened to a ton of music in preparation for this episode. What is the one song you heard, the one you'll remember the most after all those hours of listening? You know, it is a tie in my brain. You just said the word one about three different times,

and it made me think that I should have really down down to one. Without question, I'm going to wake up at 3 a.m. in the morning sometime coming up and hear tossed away by nourished by time. In my head, it just repeats so beautifully and is so hypnotic. But I got to say that my, you know, electroreceptors are set to receive, Little Red Ranger by Kathleen Edwards. I think that's going to be a song that you'll hear at open mics and around campfires. It's such a beautiful crystalline portrait of a person and a feeling and a beautifully sentimental tribute. It's old to you, but it's new to me up at the Roosevelt.

Those are both really excellent picks. I'm going to try. I'm going to go in a completely different. direction and if you ask me five minutes from now, I maybe pick a different song. Maybe it's because I didn't get a chance to hear the whole record, but I'm just so tantalized by those little niblets I've gotten of the new Deftones record. And I realized listening to those songs, A, how ready I am for a new Deftones album, and B, how nice it is to just get a little heaviness in your life every now and then just as a

palette cleanser as you're just, you know, digging through all of these, you know, these different sounds. It's good to just get wamped with something every now and then. So I'm going to go with My Mind is a Mountain, a killer new song from the Deftone's new album, Private Music. That is our show for the week. Thank you so much, Tad Cautious, for taking time out of your week at Vermont Public. My pleasure. Thank you so much. It's been so much fun to nerd out on music with you. It's like my number one favorite thing to do. Mine too. It has been a pleasure to have you. Can't wait to have you back. If you enjoyed this week's show, we always appreciate a positive. a review on Apple or Spotify or whatever app you're listening to right now.

This episode was produced by Noah Caldwell and edited by Otis Hart. The executive producer of NPR music is Saraya Mohamed. We'll be back next week to discuss new music with NPR Music's Hazel Sills and WMOT's Jesse Scott in Tennessee. Until then, take a moment to be well, chuck your cell phone into the sea, and treat yourself to lots of great music.