All Songs Considered – Beck, Asher White, Friko and More of the Week’s Best New Songs

NPR | Host: Robin Hilton | Date: February 3, 2026

Episode Overview

In this episode, Robin Hilton is joined by contributor Lars Gottridge to discuss and share some of the week’s best new songs. The two traverse everything from iconic hidden gems finally streaming, to compelling indie discoveries, plus dive into a beautiful reinterpretation project, an atmospheric folk duo, and a reflective ambient pick to set the tone for the year. They begin with a candid conversation on the Grammys before launching into new music by Beck, rat panat, Friko, Sybil, Asher White, and Simon Wojciek.

Key Discussion Points & Insights

1. The Enduring Oddity of the Grammys

• Robin shares his mixed feelings, noting it was the first time he'd watched the Grammys in 25 years, largely for his kids’ sake.
  • “None of them ever get anything right. I mean, that’s part of why people watch them, so they can be incredulous.” (01:25)
• The two highlight notorious Grammy moments, e.g., Steely Dan’s 2001 win over Radiohead, Eminem, and Beck, and discuss inclusivity and the industry’s evolution.
  • Quote: "But I think, honestly, back in 2001, when they gave the Album of the Year Grammy to Steely Dan, that just kind of broke me." (01:33, Robin)
• Both acknowledge the thrill when a beloved artist wins:
  • Quote: "They're juvenile and dumb until an artist you really love and care about gets nominated. And then suddenly you remember, oh, right, these actually really do matter." (02:47, Robin)

2. Beck – “Everybody’s Got to Learn Sometime”

• [03:46-12:28]
• Beck has quietly released a collection of rarities, including this 20+ year-old cover from 2004's Eternal Sunshine of the Spotless Mind soundtrack, now streaming for the first time.
• Robin is instantly transported:
  • Quote: "When his voice first comes in, I’m totally cooked... one of the most perfectly delivered opening lines in any song ever." (10:30, Robin)
• Lars notes the timelessness and “retro-y, trippy” sound, with distinctive use of mellotron; Robin highlights John Bryan’s production and the “Seachange era” feel.
• They reveal it's a cover of The Korgis (1980), and call Beck’s version the “most iconic.”
• Speculation: Is Beck teasing a new album of original work?

3. rat panat – “kijiji”

• [12:42-18:41]
• Lars spotlights a discovery: rat panat, an artist from Montreal now in Valencia, with an album over easy.
• Described as very “homemade and lovingly put together,” reminiscent of early Grimes or cavernous indie pop.
• Robin is taken by the song’s texture and mix:
  • Quote: "At times, I hear like... a little bit of almost like a Stereolab kind of thing going on... her voice is kind of buried in the mix in an interesting way." (17:22, Robin)
• The two try to decipher lyrics; Lars explains “kijiji” is Canada’s version of Craigslist, hinting at themes of domesticity and indelible indie charm.
• Lars: “Immediately fell in love with this one.” (18:41)

4. Friko – “Seven Degrees”

• [19:58-26:47]
• Robin unveils a new song from Friko (pronounced “Freako”), a Chicago duo, previewing their upcoming album Something Worth Waiting For.
• The song is described as “classic psych folk, late 60s, early 70s sound” with a modern, uplifting build—Robin calls it:
  • Quote: “Everything is gonna be alright. They just nailed that classic psych folk... sound that I am always gonna be a sucker for.” (24:59, Robin)
• Lars notes influences: Bowie, T. Rex, Beatles, and admits he usually defaults to the originals but is impressed:
  • Quote: "It is very well sung and performed. You know, I'm into it. I'm not saying I'm against it." (26:32, Lars)
• Produced by John Congleton, another “secret weapon” of indie production.

5. Sybil – “Witch Wife”

• [26:59-31:56]
• Lars plays “Witch Wife” by Sybil, the Holgate sisters (Chloe and Lily), fusing haunting vocals and viola, named after ancient Greek prophetesses.
• Sybil’s “deceptive simplicity” and intertwining harmonies stand out, with lyrics drawn from Edna St. Vincent Millay’s poem.
• Robin observes the music’s ancient quality:
  • Quote: “So witchy and ancient sounding. I love this. What is this?” (30:14, Robin)
• Discuss “unnotated music” (oral, generational transmission) and poetry as lyrics—a thread running through recent new releases.
• Album set for February release.

6. Asher White – “Casper” (Jessica Pratt cover)

• [32:53-40:18]
• Robin debuts Asher White’s soon-to-release project: a song-by-song recreation of Jessica Pratt’s debut album.
• Asher White transforms “Casper,” injecting raw emotion and “shattered grief” with blazing guitars, evoking Mount Eerie’s Phil Elverum.
• The hosts compare interpretive choices:
  • Lars: "Does not take the cadence... of Jessica Pratt, which I think is wise—slow and plodding, but it punctuates the notes when you need to pay attention to what is being sung." (39:59, Lars)
• The album Jessica Pratt drops February 4th.

7. Setting the Year’s Tone: Song as an Annual Compass

• [40:36-44:17]
• Robin asks Lars about his “January tradition”—selecting a single song to set the year’s emotional mood.
  • Examples from past years include Pigeon Pit, Yasmin Williams, Luxury.
  • Lars frames it as “a diary entry of where my head’s at at the start of the year.” (41:12)
• Doubts the song dictates his listening trends; rather, it’s a ritual to “reset.”
• Both hosts remark how “January always feels so long.”

8. Simon Wojciek – “It’s Only Begun”

• [44:04-49:07; episode close]
• Lars shares his 2026 “January song”: by Polish composer Simon Wojciek—an ambient, post-classical piece with guitar, tuba, and Icelandic vocals. The track is called "It's Only Begun" from the album When You Rub Your Eyes You See Things You Can't Describe.
• Described as “obsidian” in tone, “everything is beginning and ending at the same time.”
• Lyrics revolve around “Don’t you worry,” traversing pleading, desperation, and acceptance.
• Robin concludes with wisdom:
  • Quote: "Part of the trick to being happy in life is understanding that you’re not always going to be happy and that despair is part of it. They are always dancing together." (44:04, Robin)
• The show closes by letting the music linger, underscoring the episode’s emotional resonance and commitment to musical discovery.

Notable Quotes & Memorable Moments

• "I think the thing with these award shows... they're kind of silly. I know they matter a lot to the people who are getting the awards or just to be nominated." (01:03, Robin Hilton)
• "It is one of the most perfectly delivered opening lines in any song ever." (10:30, Robin Hilton, on Beck)
• "I could not make out what she was saying. I listened to this so many times, trying to figure out what is this about." (17:22, Robin, on rat panat)
• "Everything is gonna be all right. They just nailed that classic psych folk... sound that I am always gonna be a sucker for." (24:59, Robin, on Friko)
• "So witchy and ancient sounding. I love this. What is this?" (30:14, Robin, on Sybil)
• "I am drawn to despair and it's something I have to fight within myself. But I accept that as a part of myself." (44:01, Lars, on his musical inclinations)

Important Timestamps

• 00:26 – 03:41: Grammy Awards discussion, cultural significance, perennial flaws
• 03:46 – 12:28: Beck, "Everybody’s Got to Learn Sometime" – backstory, sound analysis, cover origins
• 12:42 – 18:41: rat panat, "kijiji" – artist background, sonic landscape, “kijiji” meaning
• 19:58 – 26:47: Friko, "Seven Degrees" – song premiere, influences, arrangement dissection
• 26:59 – 31:56: Sybil, "Witch Wife" – duo’s origins, ancient/folk/traditional stylings, poetry as lyrics
• 32:53 – 40:18: Asher White, "Casper" (Jessica Pratt cover) – tribute rationale, transformative interpretation
• 40:36 – 44:17: Lars’ January Song tradition – musical intentionality as ritual, emotional year-setting
• 44:04 – 49:07: Simon Wojciek, "It’s Only Begun" – ambient closure, acceptance of despair and hope

Final Thoughts

This episode offers a rich, eclectic sampling of new music, from rediscovered classics to experimental folk and boundary-pushing covers. Robin and Lars’ banter is candid and enthusiastic, providing cultural context and emotional resonance alike. The show remains a must-listen for anyone passionate about music discovery and reflection.