NPR Music - New Music Friday: The best albums out July 31

Episode Date: July 31, 2026

The Durutti Column. Arca. MOLIY. Host Stephen Thompson chats with Olive Kimoto of member station KCRW in Los Angeles about their favorite albums out Friday, July 31. Plus, a handful of NPR Music writers and critics offer their personal picks in the lightning round.The Starting 5(01:34) Album No. 1- The Durutti Column, 'Renascent' (08:49) Album No. 2- Arca, 'XXXXX'(17:20) Album No. 3- DOMi & JD Beck, 'WHO ASKED?'(22:17) Album No. 4- Shearwater, 'The New World'(29:13) Album No. 5- MOLIY, 'BADDIES

Happy Friday, everyone, from NPR Music. I'm Stephen Thompson here with Olive Komodo from KCRW in Los Angeles. Welcome to the show, Olive. Thank you. It's an honor to be here. It is a pleasure to have you. Every week, we tap a DJ from the NPR Music Network of Public Radio Stations to discuss our favorite new releases. And today, July 31st, ordinarily, we'd be talking about Ariana Grande and her new album pedal, but we did not get copies. We did. We did. have not heard it. We've only heard the one single, Hate That I Made You Love Me. So, Olive, I'm guessing, you don't have that much to say about this record that you have not heard. I don't. They should have really prioritized NPR more. Yeah, I mean, this is going to be one of the biggest records left in the summer, certainly in the pop realm. I'm sure I'll be talking about it in my roundups of the

billboard charts because Ariana Grande knows how to make hits. But without the Ariana Grande, record, we're going to explore some, I think, more unusual, maybe less pop-driven sounds, but there are some beautiful and fascinating and, in some cases, deeply strange sounds in this week's mix of records. We're going to kick things off with the Derrude Column. The Derrude Column's new album first in 16 years is called Renaissance. And I just this fucking hour from in the wild room of sales, the sharpest shit, rules.

Those rules applied on the wild times that change They've been raised Rap, blue diamond And plastic I still get as expertise Of herding, Fills, sleepy heels, mid-heel I digster wheel

Tracker, hacker, clack, a clatter No one's never no wall at all walks me slow so the Derrude column for those who don't know is an English post-punk band formed in 1978 they put out their first album

in 1980 but when I say post-punk post-punk sometimes has implications that really do not apply to the Derutie column. The Derutie column makes warm, vibrant music that doesn't necessarily have like the hallmarks of what you think of when you think of post-punk, but just they go back all the

way to 78, and they got a certain amount of press earlier this year because they were a big inspiration for the latest Harry Stiles record, Kiss All the Time Disco occasionally. So it's kind of, it's kind of lovely that they have been able to seize on that kind of boomlet of interest with a record that I found so warm and so inviting and lovely. I've always been curious about the Post-punk label as well. I feel like he almost has more in common with people like Brian Eno or even connect with artists like MLBook. I just feel like a lot of his work is about impulse over polishing, about negative space, and there's kind of this connectivity and human center that isn't always as president of other post-punk albums. Absolutely. I mean, I don't usually, when I'm taking notes on

post-punk records, I'm not usually writing down words like pastoral. But these pieces are often very atmospheric, sometimes they're even ambient. And you know, you take a track like Your Shadow at Morning, and it is this kind of sweeping languid song, and it has like flamenco guitars. There's such, there's such warmth and gentility to it. This band has a really interesting story. I mean, Vinnie Riley is the band leader. He plays guitar, sometimes plays piano, and, you know, occasionally does like spoken word stuff here. And, you know, he, he, has been a constant in this band going back to the very beginning. And, you know, he is, he is late in his career. I mean, he's been doing this since the late 70s. He's had health challenges. He's

had financial challenges. And there's just something about the weight of this band's legacy and where he is in his life that really make these songs feel so deeply felt and so wonderfully lived in. Completely. I think there was a quote that he said on behalf of this new album recently. where he says empathy is the essence of humanity. And I feel that something really felt throughout this record. Absolutely. And I often will go on about how empathy is at the core of art and that if you are making art that is coming from within yourself

and that is designed to have other people relate to it, that has to come in many ways from a deep well of empathy and that you really, really feel that on this record. But I also, one thing that I really appreciate it about it is it's not just a vibe. You know, I keep saying things like pastoral and stuff, but at the same time, there are songs that really take you down some interesting rabbit holes and kind of take strange hairpin turns. You take the song Liars. And there's like the spoken word track where Vinnie Riley is saying, like, I'm sorry, I love you. And the way that it's mixed at times, it almost sounds like he's rapping. And it's strange. It's still of a piece with kind of the warm. and humanity of the rest of the record, but sonically, it's very different. Exactly. That was one of my first impressions when that came out. I was like, wow, the new rapping era has begun. Unexpected turn, but I also love it.

I want to shout out a song called Time Present and Time Past. And that piece has livelier energy to it. It feels like this vast, hopeful, kind of wonder-inducing, movie score. You get these soft plucked strings, but you also get these ambient washes of sound. And it really, if you're somebody who listens to a lot of ambient music, if you listen to movie scores, if you like to have, you know, kind of whether it's in the background or the foreground, kind of beautiful washes of head-filling music, that particular song is a beautiful example of it. I really loved this record, and I have not spent as much time with the Drudy column as you have Olive. They've always kind of been kind of in the margins for me, and this makes me want to go back

and delve into the rest of their catalog. Like we said, this is the first album by this band in 16 years. There's so much, clearly, for me to discover as somebody who's coming to them late and falling in love. Absolutely. And as someone who is a longstanding Derrudey Collin fan, I implore everyone here to take a deep listen. And I feel so lucky. I feel like we're in an era right now where They're artists that have had such huge careers like slow dive and boards of Canada and a Rudy column coming back with new albums after proving that they cross generations and that their sound has like really held up over the many years. Yeah, and it's remarkable when you come back from a very long break as those artists did and you come back with something that sounds of a piece

with your best work, with your classic work, that is remarkable and we're very lucky that it's out there. Completely. That is the Drudy column. Their new album is called Renaissance. Next up, something pretty different, but still, I don't know. I feel like we can find connective tissue here. Arca.

Arca is back with a new album called XXXXXX. So Arca is an artist born in Venezuela, now based in Barcelona. She's a producer, a vocalist, a visual artist. She loves to create kind of glitched out work that encompasses many different elements at once, often with a visual companion. But it's interesting because she is definitely arty and she is strange, as you will hear in some of the pieces of music that we're sampling here. But ARCA also plays in mainstream spaces. She's performed with Beyonce. She played Coachella with Addison Ray. She co-produced two tracks on the latest

Madonna record Confessions, too. And so she has such an interesting way. of straddling high art and the mainstream in ways that kind of pull them closer to each other. And I just find that fascinating. Absolutely. I think that's one of the things I find so, so impressive about her career. Like, to me, Arka sounds like a cybernetic batty wearing Rick Owens, who just, like, discovered that she can eat, like, fiber optic cables. But something that's so crazy is that underneath all of that experimentation and abrasion,

And there's like this incredible attunement to kind of this pop architecture and melody that she weaves through all of that. Definitely. I mean, throughout her career, she has really focused on blurring the line between humanity and machinery. And finding ways to kind of make machinery feel human and humanity feel machinelike. And as such, you know, that produces tracks that are very strange, very arty, kind of amorphous and gnarled. But there's a familiarity to it at the same time. You take the opening track on this record, it's called No End. And it feels like it's lifted right out of a horror movie. Completely.

Yeah, it's like the most beautiful sound of gnawing on sheet metal that I've ever heard. I think it also reminds me there's a record label called Orange Milk Records that I really love. That is also kind of more in like the abstract, more ambient experimental side of what we're talking about. about now, and ARCA just kind of finds this way to make it so human, earthly, while still maintaining this futurist world that also feels warm and inviting at the same time. Yeah, I mean, there's a track here called Syncope, and it sounds like a pile up of four different video game soundtracks played simultaneously. You know, and like the synths are almost like, they're like popping like gunshots, but at the same time, it still has that.

slightly playful quality that video game music has that's kind of propelling you through this little story that you're playing through. But the fact that she does that, but she kind of does it times four is really compelling because, like I said, you get a sense of something familiar, but it's being performed in a way you've never heard before. I think the highlight for me from the record was the track spelled out F-X-C-K. I have no idea how I would pronounce that. Yeah, the song is like, it feels like the real pop binger of the album, and I found myself returning to it again and again.

And I also really appreciate that it's on a record that also has so many textural ambient tracks, and so it really stands out to me. That is Arca. Her new record is called X, X, X, X, X, X, X, X, X, X, X. We've got more records we're going to talk about in depth as well as a lightning round of some of our other favorite albums out today, July 31st. But first, we're going to take a quick break. From NPR Music, it's New Music Friday.

I'm here with Olive Komodo from KCRW in Los Angeles. Olive, ordinarily, this is where I'd be like, tell us about the station, but you're at KCRW in Los Angeles, one of the titans of public radio. I cannot tell you, Olive, how many bands KCRW has gotten me into. Like, I got all this credit for, like, being the first to, you know, at NPR Music to get into Phoebe Bridgers. And it's like, you know how I found her? KCRW's Song of the Day podcast.

No way. That is so cool. I'm so glad that we're, like, helping people get some cred. But KCRW has done me many solids over the years in getting me into new artists. It's such a phenomenal station. How did you wind up there? Oh, my gosh. I think my whole foray into music and DJing has been kind of uncomfortable.

conventional. I mean, I started DJing because I just wanted to raise money as part of, like, the feminist collective I was part of at the time. And from there, I kind of found a name for myself as being this, like, dreamy shoegaze DJ, which isn't very common, I think, in Los Angeles. And so NTS Radio reached out to me, and I started doing a show there. And KCRW's music director, Olli Cohen kind of got to know me more for my selections as well as to see the underground music scene of Los Angeles. And he tapped me on the shoulder last year and asked me if I was ever interested in having a show in KCRW. And I said, of course. I mean, this is like a huge artery of music in Los Angeles, a city that I was born in, that I was born. And I've been surrounded by the KCRW airw airw since I was born. So it's been such an honor. Such a great station. Now, Olive, I have a little intel that you have a record coming out this fall. This is correct. Yeah. Now, you are a member of the group Locust, not to be confused with The Locust, a very different band.

That's correct. We're the much dreamier electronic brother of The Locust. Nice. How long have you been in the band? I've been in the band for a little over a year. It all kind of happened really naturally. I'm familiar with the music from the release Morning Light, which is from the 90s. And it's honestly one of my favorite records of all times. It's very surreal to be able to now put out a record with Locust. You get to perform in your favorite band. That is some fantasy camp business right there.

It really is. I get to do the coolest karaoke of all time. That is phenomenal. All right. Next up, Domey and J.D. Beck are back with a new album. It's called Who Asked. There's a light he's sketched across the wall Coaters waiting the palace ain't remaining

signs have but still resuscaining The promise of Mour is keeping the same age Tomorrow is not far the same age too Still the same So Domi and J.D. Beck is a duo Grammy nominated. They were nominated for Best New Artist a few years back. Jazz duo of Domi Luna, who's a French keyboardist, and J.D. Beck, who's an American drummer. They are both former child prodigies. As a duo, they've worked with Anderson Pack and Thundercat, Bruno Mars, Ariana Grande, whose new album is out today, Herbie Hancock and others.

So, you know, you kind of get a sense of the kind of jazz heavy hits. hitters and also major pop and R&B stars that they've worked with. If you get a chance, check out their tiny desk concert from 2022. In the YouTube comments, someone had a perfect line about this band that I am stealing right now on this show. Domi and J.D. Beck should be asked to make the entire Mario Kart 9 soundtrack. And I think that really gets at the vibe of what these two do, where their music is jazzy and soulful. It's also kinetic and playful. There is so much motion in the sound, and that motion comes through in each and every one of these songs.

Completely. For all of the harmonic complexity that you find in their music, it's actually this remarkably optimistic record that just wants to have fun. Absolutely. I mean, you take the track Silhouette, you know, which has this kind of zazzy, skittish vibe. But then, like, as the song progresses, there is a keyboard solo from Domi late in this track. And it feels like the song is zipping in 15 directions at once. Like, she never stops moving. Incredible.

It really does to kind of play off the game analogy from earlier. It feels like you are playing Mario Card or something, and you get the, like, the star that, like, makes you glow and you can do whatever you're bouncing off everywhere. This music is a power up. That's exactly how their music makes me feel. Yeah, and it's interesting because vocally, they're not, their vocals don't always sit at the top of the mix and they're not always like 100% intelligible. But the vocals are deployed as additional instruments, I think, in really interesting ways. If you hear the song, some things never change, you know, which is a track that's really meeting at the midpoint of jazz and soul. I think it does a really nice job of using voices as instrumentation more than as like dispenser of the message.

I also want to plug the final track here, Epilogue, which is like kind of a jazz instrumental that closes out this record. And you won't hear many faster, busier, brighter jazz songs in 2026 than Epilogue. That is Domi and J.D. Beck. Their new album is called Who Asked? Next up, Shearwater, one of my favorite bands, has a new record. It is called The New World. You're surrounded inside out to where it's life. The world is out.

And it's so that you're moved in off the casket, even So for those who haven't followed Shearwater's career, they formed in 1999 as an offshoot of the band Ockerville River. Jonathan Meiberg and Will Schaff kind of formed the band and it eventually became Myberg's project. They started putting out albums in 2001 and, you know, have been putting stuff out, you know, on and off ever since. It's hard to even count how many albums this is because they're experimental. and they'll definitely, you know, release kind of side projects and live albums and cover versions. But their music, I have loved it for so long. It's music about the natural world.

It's music about anxiety. Their songs managed to convey this kind of cocktail of grandiosity and deep unease in ways that really speak to me. And Myberg has, I think, one of the most beautiful voices in music today. just love the way his voice swoops through these songs, but he's not showy for showiness's sake. And that allows him to convey so much emotion. Boy, I mean, if you have not heard Shearwater before, this record's a really fine starting point. Also, Palo Santo from 2006 is just straight up one of my favorite albums of that decade. I've loved this band for so long. I booked them for the ninth ever tiny desk concert way, way back in the day, and I'm so glad to have them

back. You know, Stephen, I was really surprised by this record, actually. It's not usually in my stylistic wheelhouse, but I ended up enjoying it so much more than I thought I would. I love the cinematic and symbolic lyrics and themes throughout, and it just feels so timely to use nature as a sort of apocalyptic mirror for human anxiety. And I was reading and researching about the singer, and it makes sense that his dad was deputy administrator of the Environmental Protection Agency and has spent time with indigenous communities around the world. It just all is so visible through his work. And yeah, and Myberg is an author as well. I mean, Shearwater, obviously, even the name of the band is referring to a bird. You know, he's been fascinated with birds and has studied birds his whole life.

He's just like a deep thinker, but he also makes music that has such warmth and grace. you know, even song, which opens this record. To me, this feels like right in the pocket of the stuff that Shearwater was making 20 years ago that I fell in love with, you know, that caused me to really fall in love with this band, that mixture of drama and beauty. It's so swooping and graceful. Racing through the darker head, saw a path and made no sense. Thought it was an accident.

climbing higher above me even so There are some tracks here that are downright experimental. The album closes with the song You and Your Dog, which is this kind of sweet, wow, I'm using the word pastoral again. You know, seven-minute amble, but it's got this spoken word passage,

this monologue, and it's Laurie Anderson. You know, you talk about people who've been making brilliant music for 50 years. Shearwater brought in Lori Anderson, who was an idol of Mybergs, and brought her in to kind of participate in this song that taps into a lot of these records themes about humanity in the natural world. Hey, buddy. It's sure been a long time when I was thinking about you today.

And I wanted you to know that I was thinking about you. Do you remember that day we drove to the beach and the sea was gone? And I think actually, to also piggyback off the word pastoral, I think what I find so impressive about Shearwater is that they use, you know, things that are oftentimes associated with that word, but they're actually getting to the core of what it means. Like the ecosystems underneath all of that pressure is something that they're exploring all the time.

And I really appreciate that kind of perspective on nature. Absolutely. And at the same time, some of these songs, they're just super pretty. Yeah. You take, you know, Daydream Unbeliever, you know, is a song here. It's got these big strings, just grandeur and drama. And it's just so beautiful. And like, Myberg is, you know, he's been doing this for more than a quarter of a century. This song, I think, really captures, you know, how gracefully he's able to kind of fit back into that world and into that sound. I'm so glad to have this band back. I think that song really set it out to me too.

It seems like it's a play on the monkey song, Daydream Believer. I just feel like a lot of people can probably relate to this feeling of trying to find meaning after you no longer believe in the fantasy of something. Thrilled to have Shearwater back.

Their new album is called The New World. We've got one more record we're going to talk about in depth, as well as a lightning round of some of our other favorite. albums out today, July 31st, including, you know, gathering input from other members of the NPR music team. But first, we're going to take one last quick break. From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Olive Komodo from KCRW in Los Angeles.

Before we get to our lightning round, some of our other favorite albums out today, July 31st, we've got one more record we want to talk about. Molly is back. Her new mixtape is called Baddies Love Molly. And if you hear this on the gum, then you're back. Gumb and your knees, baby, sugar to the max. But the DJ please turn up the pace to the max. Please just rewind, let me sugar to the max. Sugar to the max. Please just rewind, let me shake it to the max.

Bad man she love, bad man she love, yeah. Bad man she love, bad man she love, yeah. Bad man she love, yeah. You go see fat in your shot, yeah. So Alive you come first, could I never take a lass. Like a ball, pump up, the pussy fast. Skin-out, the pussy for me fucking. Girl, girl, you make a kicker,

original girl, some of the bad in a car. And if you hear this on the gong at your back, gone be shirk it to the max. But did you please tell, up the pace to the max? Please just rewind. Let me shake it to the max. So, Olive, we couldn't really talk about Ariana Grande,

in depth at the top of this show. But if you are looking for another record this week that has huge pop potential, this is definitely one of them. Molly is a rising star. She has a huge streaming following. She's had kind of one of the kind of big viral hits of the past year with a song called Shake It to the Max, parentheses, fly, which pops up at the end of this record. That song has crossed a billion streams. She's a Ghanayan singer-songwriter.

She traffics in Afrobeat, Dance Hall, EDM, pop. And boy, this record is so, so catchy. When I, if I can't sleep tonight, Olive, it's because my brain is going, bounce, bounce, bounce. At first when I saw Molly's name on the list, I wasn't sure if I was familiar with her. And then I hit play and realized. And you're like, oh, I know this. Yes. Everyone who spent five minutes on TikTok knows exactly who she is, even if they don't recognize the name.

And I mean, the internet really did shake it to the max. That song was unkillable for a very, very long time and with very, very good reason. But it is not, you know, if you're coming to this record because you know that song, maybe you heard an excerpt of that song on TikTok, this thing is wall-to-wall hits. And in a variety of settings, in a variety of ways, you know, everything from EDM pop to tracks that feel indebted to K-pop. You know, if you're a fan of the group Katz Eye, you know, which is kind of K-pop-adjacent, but not technically K-pop, check out the song Pop Star, which feels like it's trafficking in a lot of those same sounds and feels like it has enormous crossover potential as a pop hit.

This was another record that really surprised me. I actually really fell in love with all the tracks, and I feel like the beats are doing so much heavy lifting. Like before I could even process the song completely, my book. body was just like, it already decided that it loved it and that I should get out of my desk chair and move my hips around a little bit. Absolutely. You know, I talked about motion with Domi and J.D. Beck earlier. These tracks have, you know, a similarly kind of just deeply propulsive vibe. You take Tomito, you know, which opens this record. And it's just, it's EDM pop, it's sugary, it's hard driving. You can't not move when it's on. All of these songs work in different ways as club.

I did really appreciate the fact that each one sounds different. It's she's not just somebody who is like hit on a formula and is just gonna milk that formula over and over again. She's she brings in interesting guests. She's bringing in sounds from around the world. There are songs that have a Caribbean vibe. There are songs obviously that have an Afro pop vibe, but and like I said a K-pop vibe. And so like when I'm writing about the billboard column, you know, that kind of reflects this release, date in music. I'll be writing about Ariana Grande, but I have a feeling over the course of the next year that at some point I'm going to be talking about some viral sensation that pops

up on this here mixtape. Baddies really do live Molly and I think I'm one of them. Are we baddies? Yes, of course. That is Molly. Her new mixtape is called Baddies love Molly. Now, Olive, we could not get to every terrific record out on July 31st. It's a busy release date. We wanted to do a lightning round of some of our other picks, bring in members of the NPR music team to kind of recommend some of their favorite new records out today. I'm going to kick us off. Speaking of major unshakable pop hits, I'm going to kick us off with Shaboozy. If you were anywhere near a radio in 2024, I'm sure you have heard Shaboozy. Shaboozy's absolutely unshakable, unkillable hit, a bar song, Tipsy.

Now Shabuzi is back with a new follow-up record that's tapping into a lot of that Satan vibe, country, but also hip-hop, and also R&B, and also Western music. This is a concept record about love and vengeance. It features everyone from Jamie Fox to Gunna, to Leon Bridges, to Sam Elliott. It's got spoken word stuff. It's got kind of high concept storytelling, but it also has songs like Cowgirl that managed to tap into that tipsy vibe. You can hear the hits here. Shibuzi's new record is called The Outlaw Sherry Lee and other Western tales.

We be at the bar until six in the morning, big shots like some hall alcoholies. Wild little cowgirl shooting my father little man. I want to see a dance. Baby got something in the bag. So my pick is Perfect Person's Some Kind of Life. It's equally electronic and glitchy as it is acoustic and raw. It feels boring out of the same realm as artists like Chanel beads, ear, and horse vision. I love this emerging space where human intimacy collides with this digital production.

It feels both fresh and emblematic of where we are musically right now. That is Perfect Person. Their new EP is called Some Kind of. kind of life. Awesome. Thank you, Olive. Let's bring in Felix Contreras from NPR's Alt-Latino. Felix, what do you got, buddy? Watching Wyatt Flores mature and grow as a performer and songwriter is all the more enjoyable because the songs he has been writing since his debut in 2003 fall very much in the country tradition of great storytelling. Even before his new album, Scared of Heights was released, Drive All Night, one of three preview singles available for streaming,

already has over 5 million streams. And, you know, to my ears, the best country performers had not just great voices, but unmistakable storytelling voices. Think about it. Johnny, Murrell, Loretta, Dolly, we hung on every word. Include Wyatt Flores in that category. Scared of Heights is another leap forward for Wyatt Flores on so many levels, and this is a strong indicator that not only does he have a voice like a classic country singer,

my bet is that he'll most likely have that kind of longevity. Thank you, Felix. Let's bring in last week's guest host to whom I am so incredibly grateful. Anne Powers. And Powers, give us your recommendation. My lightning round pick this week is The Thread by Family Stereo. Blake Watt writes beautifully sophisticated songs full of wisdom and poignancy, and he's only 25. He happens to be the son of one of indie music's great duos, Tracy Thorne and Ben Watt, of everything but the girl. And maybe just to get the whole nepo baby thing out of the way,

he's calling this current project family stereo. But Blake has its own thing, a way of writing about relationships, distance, and loss that's profound in its directness and its quiet insight. His debut album, made with the help of producer Sam Hodder Williams, fits in with the lineage of indie folk, from Bell and Sebastian to My New Band Believe.

There's a painterly loneliness to the songs on the thread. They remind me of the urban scenes of Edward Hopper, full of open space and characters who are solitary and perhaps longing for connection. The thread is a deceptively soft listen that will linger in your mind and in your heart. Thank you, Anne. Finally, the striking Viking himself,

NPR music's great Lars Gottrich. Lars, what's your pick? Today, I want to give Ed Askew his flowers. In 1968, the New York songwriter released a psychedelic folk album called Ask the Unicorn. And when the follow-up wasn't released,

Eskew disappeared until Crate Diggers resurfaced his music. That happened just as the American Music Underground was unearthing the weirder roots of folk music. This spurred a new life in Ed Eskew, resulting in a prolific stream of new material

and lots of new young collaborators. Sadly, he died last year at the age of 84, but he left behind this album called The Final Painting. Like much of his work, these are dreamy songs with an uncommon beauty. It's as if, even as his health declined, Eskew could hear new colors in his music. The arrangements featuring a list of luminaries too long to share here. Absolutely shimmer.

with his unmistakably shaky voice. That's the posthumous album, The Final Painting by Ed Eskew. But what are dreams made of kings and queens wake up. From radio dreams and TV beliefs, I listen to the news. Thank you, Lars. That is our show for this week. Thank you so much, Olive Komodo, for taking time out of your week at KCRW in Los Angeles. Thank you so much for having me. I had so much fun.

It is a pleasure. 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 Noah Caldwell and El Manion and edited by Otis Hart. Our production assistant is Dora LaL Levitt, the executive producer of NPR music is Soraya Mohammed. We'll be back next week to discuss more new music with Liz Warner from WDET in Detroit. Until then, take a moment to be well. Always wear sunscreen if you're heading to the beach people and treat yourself to lots of great music.