NPR Music - New Music Friday: The best albums out May 22

Episode Date: May 22, 2026

Aja Monet. Jack Antonoff's Bleachers. Radiohead's Ed O'Brien. Guest host Ann Powers chats with Aurora McGuckin of MVY Radio in Massachusetts about their favorite albums out Friday, May 22. Plus, a handful of NPR Music writers and critics offer their personal picks in the lightning round.The Starting 5(00:00) Bleachers, 'everyone for ten minutes'(06:55) JPEGMAFIA, 'EXPERIMENTAL RAP'(12:49) Ed O'Brien, 'Blue Morpho'(19:01) aja monet, 'the color of rain'(25:19) Lowertown, 'Ugly Duckling Union'(30:35) The Lightning Round- Alela Diane, 'Who's Keeping Time?'- Mexican Institute of Sound & Meridian Brothers, 'Ruido Tovar'- Balming Tiger, 'Gongbu'- Bill Orcutt & Mabe Fratti, 'Almost Waking'- Traumprinz, 'Life'Sample the albums via our New Music Friday playlist and see our Long List of notable releases on NPR.org.Credits:Host: Ann PowersGuest: Aurora McGuckin, MVY RadioAudio Producer: Noah CaldwellDigital Producer: Dora LeviteEditors: Otis Hart, Elle MannionExecutive Producer: Suraya MohamedSpecial thanks to Lars Gotrich and Robin HiltonSee 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

A quick note before the show, this podcast contains explicit language. Happy Friday, everyone. I'm Anne Powers and I have the absolute joy of hosting New Music Friday today. I am here with the wonderful Aurora McGuckin from MVY Radio in Massachusetts. Hi, Aurora. Hi, Ann, thank you so much for having me. How are things in your world? Are you having a wonderful weekend planned?

Honestly, it's going to be a pretty chill one. I kind of forgot that it was Memorial Day. I'm going to be avoiding all the traffic and the chaos. Well, I believe in holidays as a time for rest and reflection and listening to music. And we have so much great music to talk about this week. Even more than we're going to have time for. It's a good problem to have. Definitely.

We've narrowed down the field. And there are some very big releases this week. And we're going to start with one of the biggest from maybe the most famous or buzzed about or certainly the hippist producer. at the moment in certain circles, and that's Jack Antonoff. He's back with his project, Bleachers and their album, Everyone for Ten Minutes. Let's hear a little bit of, I think, the catchiest song on the record. It's called The Van.

Pulled until a Wawa in Philly in 2000. Blue Magic coming from the speaker at the gaspull. All Jersey kids, we never learned a punk ass. So we sat there with the soundtrack. Met him all in the Wayne Firehouse, Glory Days. Packed the van and spun through being cool Man those drive-through years really went slow While our lights in the rear view was making it

We just didn't want to be lonely That's why I still sing Glory to the ones who know the van So Aurora, when we were talking before, I posed a challenge to you I said, okay, we have a lot of presumptions about Jack Antonoff. Let's see if we can erase them from our minds

and come at this record, almost like it's a new project. And I wonder what you heard listening hard to this record. That was kind of a challenge. You know, there's so much content discourse all around Jack Antonoff, his music as a musician, his music as a producer, his personality, his persona. He's become somebody that the media kind of goes to for questions on like the state of pop. Yes. So it was hard to just listen to it as if I didn't know anything at all.

And on that listen, I heard a lot of longing, longing for connection, I guess. Yeah. Is, and that's a common theme, it seems. He's talked so much about living with loss and loving life and also living a life that carries loss. And on this record, you hear him look back way, way, way back, you know, that song, The Van. He's talking about early days of the band, driving around in the van and doing it just for the love of doing it. And then you see him looking forward, he got married, and looking at this life that he wants to leave,

he has kind of everything he wants, but also looking at a world that maybe doesn't add up with that. I totally agree with you that this record is all about connection and community, and one reason why it was kind of fun to try to listen with fresh ears to bleachers was because of the content of this record, as you're saying. I mean, he does go back to that kid, the one who, what's the line about a kid in the shadows? He just doesn't want to be lonely.

Yeah. That's one of those great pop hooks that Jack Antonoff can craft so well. And the love songs, too. I mean, you just mentioned his marriage with Margaret Quali, the wonderful actress, and the love songs are so wide-eyed. And forever.

Oh, darling to steal. And forever. I do feel like the Producers brings a lot of tricks into the studio there's a lot of layering on these songs. On the one hand, he's kind of trying to replicate stadium rock, you know, like he's talked so much about how Springsteen is his inspiration.

But he's trying to replicate something really big, But then this album really focuses on ideas of smallness in a way, small communities. And maybe I could describe it as like a black mirror effect to these songs where they feel like it's kind of like the dream of giant rock rather than actual giant rock. Does that make sense? It does. It does. Because there is something sort of distant about all of it. Yes.

Reflective. Yeah. And two, people talk about Bleacher's shows being this explosive. experience. I haven't gotten to see one, but I wonder, yeah, the choice to kind of hold back almost a little bit. Maybe he wants us to have that interior experience,

the one that he's having, you know, where he's reflecting on all of these aspects of his life. Maybe he wants us to dream in our bedrooms along with this music. That's a very old-fashioned thing to want, you know? Right, right. But again, like, he I think he is kind of a

student of pop and rock's music's history and and really just a lover of music, it seems, in the most basic, not basic as in simple, but innate and essential way. So you retrace the steps and you dust the path for prints. There's a wasteland in you, is there something you've missed? These grand self-obsessions are a way of hidden snooze. The truth is too dark and there is too much to lose.

But inches of glory in a leap's in true faith. And they don't come easy But they are the ways And another day over A moment over you Bring me right back to the star With the same damn words I feel I can't believe you're gone

And that's Bleachers The new record's called Everyone for 10 Minutes Well let's move on to another prolific artist Someone who also is a producer Although in a very very different way and Jack Antonoff. This is the rapper, producer, songwriter, all-around character,

JPEG Mafia, and his new album, Experimental Rap. All of myself, I do not need a piff, and I came from that error. We're wasting no minutes. Hit me after nine. If you bust are my business, it's all in my own I can take

with no limits. You got Mrs. Daddies. I'm still independent. I swing to the left of my roddy be hand like taking his sis getting whipped by these nicks. Back in his bitch. Storm in a game like it's January 6. By a hair with these boy hands,

we knock up you wish. Got to be humble enough to see frozen in your chest. Take a swing at the chair. You go downstairs and get to take that hit like a dougal. I'll step in the ring, your bitch. Stepping out of a little trache outside. With the roster, we letting it ring your bitch. You is not skimming my pay.

Touch pay, do we break up like Kimmy and Y. You ever fought like your family stage? He's touching my pay by I'm scraping your plate. 25 tracks. And it just goes by like a hurricane in a good way, you know, if that's possible. A roller coaster. Yeah, that's for sure. JPEG Mafia, who his real name, by the way, is Barrington Hendricks.

also goes by Peggy. This is his sixth solo album, but he's also done many collabs. He's known for starting beefs and just like saying very incendiary things. But he's also known for his sound, which is so, yeah, super maximalist, right? I mean, it's got like techno elements, kind of like video game elements. It's his rapping is just rapid fire kind of reminds me of Busta Rhymes at times. But there's also, like, gospel on this record. There's just, like, so many different things. It's hard to separate anything out.

Yeah, even a little, like, punk rock. And he has said, I was listening to an interview he did recently, where he was like, I am real punk rock, you know, like. And that's what this album title, Experimental Rap, he named it that because he's like, this is what I'm already doing. And other people might say that that's what they're doing, but I've been doing it. I'm the only one who's really doing it.

And I wonder if this album, like, lives up to that title in the way that his previous work does. I mean, I think it does in some ways. I mean, if you listen to a song like Sarabamba, that just that aggressive, intense electronic bed that he's building his raps over, it totally is experimental. Marry and waste of his time make a spend her inheritance. My husband's for styling shows like Miss Garrison. Two D.C. running around like Marr and Harrison, wow. Shots to the body, she's throwing a towel. I put gold on that boy head by me out.

Most of these weapons, they came from the style. I miss having gold in my mouth. My neck is what you will put down, and I h-do it. Well, what do you think about the Yeh connection? Because JPEG Mafia has always said that Yeh, formerly Kanye West, is his North Star. And here he really doubles down on that. There's not only a song called Lights, which is based on, of course, Kanye West's great hit, all of the lights. But there's also a song since I met Yee, where he just openly says, you know, I'm sticking by this guy.

How does that feel to you? I mean, it seems like he's sort of saying nothing that you're saying about me. I don't already know and I don't have an answer to. And there's nothing that you can do or say about me that is going to change who I am and sort of how I live my life. He has not at all said that he agrees with the things that Ye has said that have made him this troubling figure in recent years. But he doesn't think that I heard him use the word grace a lot when he was talking about this in a recent. It was a Pigeons and Plains interview leading up to the album release. We choose sort of selectively who we give Grace to,

and he is choosing to give grace to yay in a way that larger media or a lot of people are maybe not. And what to do with that, I don't know. I don't know if I want to touch it. The record we've been talking about is experimental rap by JPEG Mafia. and now we are going to take a little break. Hey everyone, it's Anne Powers, and it's my absolute pleasure to be here with Aurora McGuckin from MVY Radio.

Aurora, can you tell us a little bit about MVY Radio, for those who might not know? Yeah, absolutely. And thank you again so much for having me. This is so fun. MVY Radio is located on Martha's Vineyard, and we are a station that is year-round in a place that, lot of people don't consider to be a year-round destination. So we really focus on both servicing that smaller local population. And then, of course, there are plenty of vacationers who come to the

island for parts of the year, probably, you know, starting in a week or so, and then take us with them. We were an early streaming station. So we like to say Martha's Vineyard and the World, because there are so many far away who listen to us when they're not on the island. And you got into radio via college radio, right? At Wesleyan, I think? Yeah, WESU was where I got my start, and I never looked back. Well, that's not true. I thought about some more stable career options, but I couldn't, I just the pull back to radio. All I want to do is talk about music, which is why I'm so happy to be here today. I love it. So we're going to talk about a band that in some ways got its start via college radio and one of their members who now has a new solo record.

The band I'm talking about is Radiohead, and guitarist Ed O'Brien is the member who has a new record out. It's called Blue Morpho. Okay, Aurora, so Ed O'Brien's made two solo records. The first one he released right at the beginning of the pandemic, and I, I don't know if it was in the aftermath of that release or because of the pandemic or whatever, but he went through a deep depression after that and kind of had to pull himself out of it. That's the story behind this album, Blue Morpho, his path toward healing, which caused him to confront a lot of traumatic stuff in his own background, in his own childhood.

And also, I think maybe about, you know, his work as an artist. And how did you find this music? What was your door into this music when you were listening? Well, you know, I had read that he wrote this record trying to come out of a place of depression. And to me, it does sound like an antidote in itself. You know, listening to it, even though a lot of it is instrumental and kind of ambient, it was not like an easy or passive listen for me. It felt very transportive.

Creating the better feeling or the world or making sense of it all that he was trying to sort of break himself out of that pull from the darkness into the light. A blue morpho, I think, is a type of butterfly, and you feel like the butterfly kind of in listening to it, or I did. I was interested to read that Shabaka Hutchings, who plays flute on the track thin places, taught O'Brien about the 430 hertz frequency, which is a frequency that supposedly induces calm.

I don't know. Do you ever do that thing where you're like, it's late at night and you are like, I have to sleep and you go to YouTube on your phone and you're like looking at those you're looking at those videos that are like this frequency will change your life and cause you to completely become you know the Buddha or whatever do you ever do you ever listen to those tracks I have been there they haven't worked for me yet but I have I have gone down that rabbit hole

before I feel like the calm is in that track thin places though you know it works I don't know if it's just now whenever I hear Hutchings playing the flute I instantly feel calm I've been lucky to see him do that a few times live, and it definitely brings me to a happy place. I definitely felt a sort of sense of overall peace, both like in just myself as the audience and also in him. But then you have tracks like teachers that sound just like a kind of a proper radio head song. I know, proper radio head song without Tom York singing. Yeah. Well, it made me sort of question what I know about radio. We always, in any band, we kind of think about the front man or the lead songwriter as the driving force behind the band.

But it made me think about Ed O'Brien differently in his role in Radiohead. I think you're right. Like, his guitar on this record, it made me want to go back to Radiohead's albums and seek out, like, his parts there. Because you can definitely feel a kind of a, again, like a frequency that, runs through this record that, oh, wow, that's in Radiohead's music as well. Totally. And it's fun to see him play around with it, too, and take it elsewhere. Take it to Brazil, you know, on that final nine-minute track. I love that track Obrado. It's really, I'm always worried when, I'm just going to say it, when, like, white people decide they can

play Latin music or whatever, spiritual jazz or whatever. Like, I always, I always hope for the best in those situations. But I think O'Brien really achieves a true fusion with that track Obergato where he brings his own soul and heart and experience into it, but then fully also brings everything he's learned from listening to Brazilian music. That's Ed O'Brien. His album is called Blue Morpho. And Aurora, let's stay in the spiritual zone while also getting a little more political, maybe a little earthier, maybe more down to earth, because we're going to talk about the new album from the poet, Aja Monet, is called The Color of, right.

We be somebodyness. When the streetlights in your veins go on and some are walking up and down the sidewalk of your grin. Diamonds twinkling on the street. The thirst of our cool on the shorelines of a smile. Washing up against moon shuttle-lit eyes. Freeing impulses, whereas folk we loat.

Laughter in the face of death. The carnival of flowers sprouting from clothes, fists, earth skin. The perfume of stones kissing cuss words. So, Aja Manet is an incredible spoken word artist. She's also a published poet. She has several volumes of poetry out. She came up in the New York scene. I don't know.

Do you ever go to the New Yorkian? cafe down on the lower side, Aurora? I haven't been in a long time. For context, I grew up in New York City, and I did go in high school sometimes. I feel like the moment that I was in high school, spoken word, was having a big resurgence in popularity. Yeah, and Aja Munet came up in that scene, and her previous album, when the poems do what they do, came out in 2023 and immediately established her space in the scene, you know, her space in

the world of kind of hip-hop. Bar and B. Jazz, which is firmly in the tradition of people like Gil Scott Heron or Maya Angelou or other New Yorkan poets' cafe alums like Tracy Morris. She's doing something that I don't hear really anybody else doing right now. Not that I can think of, no. And she's sounding the alarm on a lot of very, very urgent issues. And then at the same time, bringing like so much warmth, it feels like a hand kind of reaching out to you. so many of these songs. There's, there's real, like, again, going back to this, this connection and community being so, so, so important right now. And she talks about that in such deep and just really loving ways. Loving and yet, there's like a little bit of saltiness. Like in love

is a choosing, for example, which is such a generous, beautiful love song that also features the vocalist Mariba. That song, it is so romantic, but there's also like a practication. to it. It's just like, hey, I'm going to choose this love. I'm not falling. I'm not swooning. I am choosing. I love that. I mean, I just love the strength that Ajamune projects in these songs. They tell you tales of how love ought to be, tangled steady with standards built on lofty clouds. Never mind the hands of learning, yearning eyes. The delicious, unsaleighed. bed that binds us. The miracle is a muscle we practice.

The delight of dancing with all our utterances. Love is nearly never rehearsed, always on accident, startling us into stolen breaths and first forever's. is a choosing. There's the sense of choosing in every single moment of this record. I love that song. It's a sister. And she says, I do not trust a mouth that has never pronounced sister. That was a lyric that you had flagged.

And I had actually written down the same one. Yeah, I love that. I love that song too. You know, it features two of my favorite artists kind of aligned with the jazz world, the vocalist, Ghanavi, and the harpist, Brandi Younger. And together, those three, They just form this beautiful nest that I just want to crawl into. It feels like a spiritual slumber party, that song, you know.

I absolutely love it. Unself yourself. The best of your beaming is a bread to hungry mouths. You are shimmering. We need a revolution. Rivers of risk tend to your tending. Sondering, she swung her hips across borders. A standout track for me, I was going to talk about Holly Weird.

That's a crazy one, right? Because she's moved to L.A. This is, I guess, her little, like, welcome to the neighborhood sign. Right, right, where she's, you know, casting side-eye very, very vocally at Hollywood. and the hypocrisy that she is seen there. And on a track like that, too, the music kind of goes with the mood. You know, it's a little bit frenzied, and you get worked up both by the lyrics and by the music.

Burning bushes pop across the screen. Threads of prayers between watch Judy app notifications. Evacuate Hollywood. Gridlock sparks of fear, an arsonous wet dream, rolling down Runyon Canyon. Weather in the mind. Santa Ana's hands shivering against the window. Shattered winds, ash on the lung, a sky of blazing breath.

A flame on the distance looking back, the hue of cough. The scent of tickling sneeze, it is not rain. Dry is silence in the dragon's mouth boulevards between capitalism's deep. That's Aja Monnet, and her new album is called The Color of Rain. We are talking about the best releases from this week. We're going to take a little break right now. It's sunset. Some say smart meters.

Directed energy weapons or... Hey, everybody. I'm Ann Powers, and I'm here with Aurora McGuckin of MVY Radio. And we're talking about the best releases out this Friday. And we have one more, Aurora. This is one you really like. Do you brought this in, I think? Yeah, so the final record that we want to talk about today

is from the New York indie rock band Lower Town. It's called Ugly Duckling. I want to hear a little bit of the opening of the album, this opening track. It's called Mice Protection. That song is so odd. That song is so odd. Believe me, in the best way. Or are there some kind of like story behind this record?

I mean, it's telling a story or something? Yeah, so this is a proper concept album. Ugly Duckling Union. in their early 20s now. They started off in high school in Atlanta, Georgia. Just two people, Olivia Osby and Avcha Weinberg. And a lot of their music, you know, has thus far dealt with, with sort of like being sad and young. And I think they would probably say that themselves. And it's true. But this album is a concept album. It's about Dale the Duckling, who is an outsider, ugly duckling, who has to kind of navigate this corporate media power that's trying to seek control

and isolate and along the way through these, I believe 12 tracks, Dale Fines community starts the ugly duckling union, they're fighting back. But there's a multimedia component. There's a Minecraft world. Wow. There's a real plush duck that's on tour with them. Right, stop. Don't go on. Yes, sorry. There's a duck on tour with them? What? A plush, sorry, a plush. I think it's just sort of like a big stuffed animal. Oh, man, I was hoping for like someone in a giant duck costume, but that's cool. But no, they've really built out this world. But at the same time, this record is, it feels very, very intimate.

It's a record about coming back to themselves. There's an eccentricity to their vocals, especially, but to the arrangements as well. But as you said, even though this is the story of a duckling, the songs are very human and very vulnerable and relatable. What's the name of that one that's about, like, I dreamed I was going to marry you and then? I think it's echo of desire. Yes, oh my gosh. That song is definitely contender for my year endless. I love the way it tells the story of how you feel desire for someone,

how it comes to dominate your life, and then when you get with them, it is not what you hoped for. Right. Wait for each other. Sleep in her face. Welcome to love. Hollis, home as a side. And I go outside

And I go You're right These songs are all You know There's this story About this duckling But a lot of them are just Sort of like

Learning about Your own identity And your place in the world And sort of like What it's like To be an adult Almost And I think that the

Conceptual structure of the album And it being this whole Other World Almost it like It like Gives them license To get even more Vulnerable and personal

Oh wow That's a great insight Aurora There's like with the distance and with the levity, then you can get to this like ugly, awkward kind of core that we all feel and don't articulate, I guess. And they do it so beautifully. I mean, cover you, which I think probably is the end of side A on the record. It's like five minutes. And Olivia's playing the flute and it's mostly instrumental. And it's amazing that they have so much range that they get to play around with it thanks to the ugly duckling.

This is Lower Town and the album is called Ugly Duckling Union. Well, Aurora, we've gone over five of our favorite albums from this week, but we can't stop here. We have to have a lightning round. So let's get into it. And I have a record that I want to share that just means a lot to me from an artist who I really love. This is a record called Who's Keeping Time by the Portland-based Portland, Oregon, that is, Alila Diane. So I first discovered Alila Diane in the early 2000s through Joanna Newsom, who, like Diane, grew up in the dusty town of Nevada City, California. Back then, Alila Diane was part of the whole, like, freak folk thing, a new generation discovering the old, weird elements of acoustic music.

And you can hear that freakiness in her early albums. But since then, she's developed into one of my favorite songwriters. Alila Diane is kind of like that cool hippie mom who makes everything in her life into art, you know, like she crochets and her cooking is really good, and she built that shed in the back of her yard. And her art is just of the highest quality. This new album, Who's Keeping Time, was written after the death of Diane's friend and mentor, the folk legend Michael Hurley, and it considers the fragility and the beauty of life, the shifting sounds of identity and the importance of being where you are.

That's Alila Diane. Who's keeping time? I want to talk about the new record from the Mexican Institute of Sound and the Meridian Brothers. It's called Ruido Tovar. This record is so fun. You've got Meridian Brothers led by Ebly's Alvar. in Bogota, Colombia, and Camila Lara, Mexican Institute of Sound, combining forces and making an ode to this revolutionary period in Mexican cumbia music in the 70s. So they're bringing

together both the Colombian musical influences, Mexican tropical musical influences, and then also this fresh energy, you know, all of the electronic elements that the Mexican Institute of Sound are known for. And it is just gorgeous. It sounds great in the cause. It sounds great in the car, it's fun to groove to. They're a couple of Beck features on this record as well. And a great exploration of, you know, a moment in music history that I wasn't very familiar with and also bringing it into the future. That's Ruido Tovar from the Mexican Institute of Sound and the Meridian brothers. And now we're going to be joined by a few of our other colleagues who have special favorite albums they want to talk about this week. First,

Robin Hilton. Yeah, the album I want to get on everyone's radar this week is called Gongbu. It's from a band called Balming Tiger. This is a pretty big group. It's 11 members. They're from Korea. And the music is pretty wild. It's lots of mood shifts, lots of global sounds, all kind of mixed together with found sounds.

Sometimes it's a collage of things that you can't even identify. But honestly, I think this is the coolest thing that I've heard all year. It's trippy. The grooves go deep. It's got these big group vocals that are super infectious. And it's all a concept record. It's about a fictional research institute called Gongbu Korea, where scientists record and conduct experiments on human dreams.

But, you know, even if you don't speak the language or understand the stories in it, I think it's still an incredible listen. This is a top five album of the year so far for me, Gongbu from Balming Tiger. Next we have a lightning round pick from Lars Gottrich. So you never know what you can manifest until you speak it, you know? A few years ago, the Guatemalan cellist Mabe Frati named an album by the avant-garde guitarist Bill Orcutt as one of her all-time favorites. He reached out for a collaboration and now we have this stunning album called Almost Waking. Bill Orkut can really shred some gnarly improvisation, but here,

he's restrained, even elegiac. And in response, Mabi Frati takes those quiet, scraggling melodies and overlays them with long, sinuous lines, sometimes aching, sometimes full of fuzzy distortion. And even though these songs were made by trading audio files back and forth, there's a quick intimacy here. That's the album, Almost Waking by Bill Orca and Mavi Frati. And finally, we have a pick from our own favorite producer Noah Caldwell. So I've got an album from the mysterious and beloved electronic producer Tromprins. It's called Life.

Tromprins is from Hanover, Germany, but details beyond that are scarce. He's stayed anonymous his entire career. And he uses a ton of different aliases and artist names like DJ Metatron, DJ Healer, Prince of Denmark, Irini. The list goes on. And his sound is just as slippery to try to pin. down. I mean, he's definitely in his techno guys here. This album has techno at its core. It's got that low, like, hypnotic rumble, the four on the floor kicks. But it also borrows production elements

from a bunch of different styles. There's some acid baselines. There's these big, lush annul-like pads that evolve super slowly over the percussion. There's even some boom bap. All in all, just super moody ear candy that works for both a dark dance floor or just sitting alone with your headphones. So that's the new album from Tramprints called Life. And that's our show, but before you go, I just want to tell you about one other offering we at NPR Music have. It's under our NPR Plus program, and it's a podcast I do with my dear friend and colleague, Dio, Tyler, Amin. We call it Old Songs Considered, and every week we consider a song from the hallowed history of pop, and think about how it's resonated through the years. This week, we're taking one of my favorite songs of all time, closer by nine-inch nails.

our show for this week. Thank you, Aurora McGuckin from MVY Radio in Massachusetts for joining us. It's really been a pleasure. Thank you so much, Anne, for having me. This has been so much fun. 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 Noel Caldwell and El Mannyin and edited by Otis Hart. Our production assistant is Dora Levitt, the executive producer of NPR Music is Saraya Muhammad. Stephen Thompson will be back next week. to discuss the new Boards of Canada album. I know that's big news for some people.

And more great releases with Andrew P. Brown of NPR member station KUTX in Austin, Texas. Until then, have a great weekend, listen to tons of music, and make sure you come right back here to hear more fabulous releases on our next new music Friday.