New Music Friday: The best albums out Aug. 15

Summary

All Songs Considered: New Music Friday – The Best Albums Out August 15, 2025

Host: Stephen Thompson
Guest: Amelia Mason, WBUR Boston
Release Date: August 15, 2025

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Introduction

In this episode of All Songs Considered, host Stephen Thompson welcomes Amelia Mason from WBUR Boston to discuss the standout albums released on August 15, 2025. The conversation delves deep into the nuances of each album, offering listeners insightful reviews and personal reflections on the featured artists.

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Dijon Duenas – Baby

Stephen Thompson introduces Dijon Duenas, a Baltimore and Ellicott City-based singer, songwriter, and producer known for blending pop, rock, and R&B into a unique sonic tapestry. His latest album, Baby, showcases his ability to deconstruct and reconstruct musical genres into something "really strange and beautiful" (02:34).

Amelia Mason praises the album's production, likening it to the sounds of Bon Iver and Prince while emphasizing Duenas's distinctive touch. She remarks, “It is one of the coolest sounding records I've heard recently” (03:09).

Notable Discussion Points:

• Baby features tracks like “Day One” where Duenas collaborates with Bon Iver, highlighting a "deconstruction" of traditional sounds (03:20).
• The album balances intense, high-energy tracks like “HIGER” with more intimate, minimalist pieces such as “My Man” (04:26).
• Amelia appreciates the tactile and textured production, particularly enjoying the song “Automatic” for its blend of challenging yet pop-oriented elements (05:49).

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Marissa Nadler – New Radiations

Marissa Nadler’s tenth official album, New Radiations, leans into airy, dreamy folk music with elements of synths and slide guitars, creating a balance of "wispy softness" and "real heaviness" (07:29).

Amelia Mason commends Nadler’s storytelling, noting how her lyrics evoke cinematic imagery reminiscent of a short story or film. She highlights the song “Weightless Above the Water” for its melancholic and space-themed narrative (09:59).

Stephen Thompson draws parallels between Nadler’s sound and the ethereal compositions of Angelo Badalamenti, likening it to the Twin Peaks soundtrack. He emphasizes the album's ability to evoke strong visual imagery through its evocative song titles like “Bad Dreams Summertime” (11:48).

Notable Discussion Points:

• Nadler’s use of outer space imagery creates a sense of drifting and isolation, enhancing the album’s emotional depth (09:47).
• The track “Illusion” showcases a blend of guitars and ethereal voices, conveying ambiguity similar to David Lynch's artistic style (12:27).

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WBUR Boston Insights

Amelia Mason provides an overview of WBUR Boston, highlighting its robust arts and culture team. She mentions their annual series, Makers, which spotlights up-and-coming artists in the Greater Boston area, and encourages listeners to subscribe to their Arts and Culture newsletter and explore the Field Guide to Boston (14:52).

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Molly Tuttle – So Long Little Miss Sunshine

Molly Tuttle’s latest album marks her foray into banjo, departing from her strong bluegrass roots to embrace a more pop-oriented sound within the Americana genre. The album’s title reflects her desire to authentically express herself, moving away from being a "pleaser" (17:16).

Amelia Mason praises the seamless integration of Tuttle's guitar work into the new arrangements, noting the album’s ability to blend pop sensibilities with her technical prowess. She highlights songs like “Summer of Love” for their nostalgic and summery vibes (20:28).

Stephen Thompson discusses the subgenre Wave, coined by NPR Music’s Lars Gottrich, to describe light, summery, and joyful music. He connects this to Tuttle’s track “The Highway Knows,” appreciating its blend of traditional and contemporary elements (19:06).

Notable Discussion Points:

• The album artwork features Tuttle in various wigs and her natural state, symbolizing themes of authenticity and self-acceptance (21:22).
• The cover of Charli XCX's "I Don't Care" received mixed reviews, with Thompson appreciating the reinterpretation, while Mason critiqued the song’s suitability for her style (23:10).

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Pile – Sunshine and Balance Beams

Boston-based post-hardcore band Pyle releases Sunshine and Balance Beams, maintaining their DIY ethos with a sound described as “all killer, no filler” (25:28).

Amelia Mason reflects on Pyle’s evolution from Rick McGuire’s solo project to a full-fledged band, noting their inventive and unpredictable song structures. She cites “Bouncing In Blue” as a prime example of their dynamic range and distinctive lyricism (26:49).

Stephen Thompson reminisces about Pyle’s potential impact on college radio, praising their assured songcraft and innovative arrangements that blend radically different components seamlessly (27:35).

Notable Discussion Points:

• The song “Holds” and “Carrion Song” feature string codas that enhance the album’s depth without disrupting its core intensity (28:32).
• Pyle’s ability to translate their energetic live performances into studio recordings is highlighted as a testament to their creative growth (29:22).

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Joseph DiCosimo – Fiery Gizzard

Joseph DiCosimo’s Fiery Gizzard is celebrated for its warm and reflective take on traditional Appalachian and Southern music. DiCosimo, a banjo and fiddle player with a PhD in old-time music, infuses the album with ambient and experimental elements without losing its traditional roots (31:05).

Amelia Mason lauds DiCosimo’s ability to push the boundaries of old-time music by integrating modern instrumentation like electric guitars and synths, making the traditional repertoire feel both classic and contemporary (32:14).

Stephen Thompson appreciates the album’s emotional resonance, particularly in tracks like “I Had a Good Father,” and the seamless blend of traditional melodies with new sonic textures (32:41).

Notable Discussion Points:

• DiCosimo’s meticulous understanding of old-time music allows him to honor its traditions while innovating within the genre (34:21).
• The track “Pretty Fair Maid” exemplifies his ability to evoke rustic Americana with a “cracked beauty” reminiscent of singer-songwriters like Richard Buckner (35:17).

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Lightning Round: Additional Releases

1. Cassandra Jenkins – My Light, My Massage Parlor

   • An instrumental companion to her previous album, engineered to be soothing and calming (37:45).

2. Caspa Combs – Interior Live Oak

   • Features melodic craftsmanship and poetic songwriting, praised for its repeatable listenability (38:04).

3. Audrey Hobert – Who’s the Clown?

   • Hobert’s debut album showcases her catchy and quotable pop songs, blending viral appeal with personable lyrics (38:22).

4. Najee Janie – Royalty

   • A versatile Boston-area rapper and singer, Janie’s album highlights his ability to seamlessly switch between rapping and singing, demonstrating his chameleon-like versatility (39:08).

5. Brett McKenzie – Freak Out City

   • The Oscar-winning comedian’s album takes a turn from musical comedy to a more sincere, breezy collection of songs inspired by classic singer-songwriters like Billy Joel and Randy Newman (40:00).

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Favorite Tracks

In a candid exchange, Stephen and Amelia each select their favorite tracks from the discussed albums:

• Amelia Mason: Chooses “Billy Button” by Joseph DiCosimo, appreciating its beautiful, nursery rhyme-like quality (41:09).

• Stephen Thompson: Opts for “Bouncing in Blue” by Pyle, praising its multifaceted composition and ability to captivate listeners with its dynamic shifts (42:58).

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Conclusion

All Songs Considered wraps up with heartfelt thanks to Amelia Mason for her insights and contributions. Stephen encourages listeners to explore the featured albums and support NPR Music by leaving positive reviews on various platforms. The episode concludes with a reminder to enjoy great music and take care.

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Notable Quotes:

• Amelia Mason: “It's deeply familiar, but also completely warped... you have to listen closely to figure out what he's singing” (03:20).
• Stephen Thompson: “She's really pushing the boundaries without feeling limited by tradition” (34:21).
• Amelia Mason: “This is who I am. This is what I'm all about” — referencing Molly Tuttle's embracing of her identity through album art (21:22).

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Credits

• Produced by: Vincent Akovino
• Edited by: Otis Hart
• Executive Producer: Soraya Martin Mohammed

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For more insights and detailed reviews, visit NPR Music's All Songs Considered.

Transcript

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[Stephen Thompson]

Happy Friday, everyone. From NPR Music, it's NEW Music Friday. I'm Stephen Thompson. Each week on New Music Friday, we speak to a member of the NPR Music network. And today, August 15th, we are welcoming Amelia Mason from WBUR in Boston. Hey, Amelia.

[Amelia Mason]

Hello. Thank you so much for having me on.

[Stephen Thompson]

Thank you so much for being here. So the music that you're hearing at the top of this show is from a late breaking album dropping today, August 15th. That's the electronic dance music star Kay Trinada. He is one of the most prolific collaborators in the business. But his new record, ain't no Damn Way is a solo showcase for his vibey timeless R and B inflected very distinctively Katrinata dance music.

[Amelia Mason]

Yeah, we just found out about it, which was very exciting, maybe less exciting for a pre taped podcast, but it was very funny to be listening to this like in the offices here at WBUR with my little headphones on in like an empty office with bright lights because this is like nightclub music.

[Stephen Thompson]

Did you feel like you were keeping an industry secret? Like every time somebody walked by and saw you, you were like, yeah, that's.

[Amelia Mason]

I mean, I did do that. I did feel special. Ye.

[Stephen Thompson]

Well, let's kick off the show. New album from Dijon his new album is called Baby. So Dijon Duenas is a singer, songwriter and producer from Baltimore and Ellicott City, Maryland, got his start as half of the duo Abi Dijon, which at umbc, University of Maryland, Baltimore county, where my son is about to go back to school. But Dejon is part of kind of a hard to describe sonic movement. You know, I think of him in the same breath as I think of an artist like McGee, the guitarist who, you know, who has become like a huge star and, you know, collaborates on the new Justin Bieber record. It's the sound that is kind of taking pop and rock and R and B and twisting it and kind of warping it into something really strange and beautiful.

[Amelia Mason]

Yeah, I love this record for that very reason. And it definitely has it's reminiscent of other things, you know, that are familiar, like Bon Iver. And I was definitely hearing a lot of Prince, too.

[Stephen Thompson]

Yes.

[Amelia Mason]

But I do think he brings his own thing to it. Like, I don't mean to make it sound like, it's derivative or something, but it is of a certain. I don't know, an ilk. Like, there's something happening. Like, this is hip right now. I'm hearing a lot of it, and I freaking love it. I really, really love the production. I love the production on this album. It's. It's one of the coolest sounding records I've heard recently.

[Stephen Thompson]

Yeah, it's funny, I'm looking at my notes right now and something I scribbled down along the way. A lot of it is like, Prince and Bon Iver got tossed into a blender, and I'm here for it.

[Amelia Mason]

Okay, there you go. Yeah, you said it better than I did.

[Stephen Thompson]

But, like, Dijon pops up in the song Day One from Bon Iver's most recent album, Sable Fable. You know, a lot of these guys kind of work together and are kind of constantly bouncing ideas off of each other. McGee has, like, produced Dijon records before. Like, those guys have certainly worked together. It's almost like there's a deconstruction going on where you're taking these sounds and just finding ways to make them sound like they've never quite sounded before.

[Amelia Mason]

Yeah, it's, like, deeply familiar, but also completely warped. I mean, he does mix his vocals in crazy ways and does a lot of things to his voice, which I think can make it. I don't know, it's like it's another instrument in a really visceral way. And you kind of have to listen closely to figure out what he's singing, which then sort of forces you to really, really listen and hear all the really cool things that are happening sonically on this. And then I think moments of, like, kind of real intimacy emerge in what he's singing about, especially in that first song, Baby so I touch her belly.

[Unnamed Speaker]

But I mean the interland O King.

[Stephen Thompson]

Yeah, well. And so much of what is intriguing about his sound is the inventiveness in the production and the kind of. The variation in sounds throughout the record. There's a track early on called Higher, all caps, exclamation point that's kind of, like, redlined R and B. Like, his voice is, like. Is kind of maxing out, and it's kind of creating this effect. Like, his voice is, like, too hot on the microphone, and it feels like it's cheating.

[Unnamed Speaker]

Chee, chee, chee, chee.

[Stephen Thompson]

But it's giving the song this kind of cracked sense of intensity. And then you've got the song My man kind of laid on the record, which shows how well he's able to work in these kind of spare, desolate arrangements where the production kind of gives him the ability to sound like he's hunched over a laptop in his bedroom, you know, just giving you this maximally intimate experience. But at the same time, you know, over the course of the record you have some of these sleeker and more sophisticated arrangements.

[Amelia Mason]

Yeah, I mean it is very textured. It feels very like tactile. The production on this record. I especially loved the song Automatic. I thought that was like kind of a bop, but still like a little bit crunchy and in your ears it feels surprising and just a little bit challenging. But still incredibly pop oriented.

[Stephen Thompson]

That is, baby. It's the new album from dijon, out today, August 15th. Next up, a new album from Marissa Nadler. Marissa Nadler's new album is called New Radiations.

[Unnamed Speaker]

Was stuck inside the faded screen Was a late night host the in between Tried to break the glass tile the.

[Stephen Thompson]

Ending of the sea so Marissa Nadler's been putting out records since 2004. Some of them on kind of official labels, some of them self released, some experimental, all beautiful in their own way. This is her 10th official album. And it leans really hard into kind of airy, dreamy folk music, you know, finger picked guitars, her swoony voice, you know, set against organs and synthesizers and slide guitars. It's just a. It's a beautiful record. It's got kind of a wispy softness to it, but also real heaviness.

[Amelia Mason]

She's one of these artists who just. She has found her thing. This is what she does. And she does it incredibly well. And she hones it and changes it a little each time, but she just remains so true to who she is and what she's trying to. What she's trying to get across. My experience of listening to Marissa Nadler is like, I start to catch lines and they're like. I grasp them briefly and I'm like, wait, what did she just say? You know, like something about someone dying, like something about a spaceship, like. And then, you know, is this a murder ballad? Is this a murder ball murder ballad? Yeah. And she is singing about dark things. It's not incredibly personal or autobiographical. She definitely turns that trope on its head. This is not a singer songwriter who's just sort of openly excavating her own experiences. Not that there's anything wrong with that, but she's definitely doing something different. She's inventing stories and they may be very personal, but they have this feeling of being like you're in a short story. Or a novel or a film. I feel like.

[Stephen Thompson]

Yeah, and like a film, that. That aspect of it really jumped out at me in some. Several of the songs on this record. There's a track on this album called Smokescreen Selene, which, you know, even if the lyrics aren't. The sound is conjuring these images of, you know, dusty highways and empty vistas. You know, as the song progresses and the guitars get a little more ominous and distorted, you really get this sense of almost feeling like she's. She's singing over film scores. In a way, I love how evocative her song titles are. Like, it really is a case where you can map the song titles to the tone in ways where it's like, yes, this is definitely a song called Bad Dreams Summertime. You know, Bad Dreams Summertime is such a perfect summation of the vibe of that song and of several songs on this record where it's like this lush, verdant sound, but it's also haunted at the same time.

[Amelia Mason]

On this album in particular, I noticed she uses a lot of imagery kind of about outer space and the stars and looking to the heavens. And she's got a song called Weightless above the Water.

[Stephen Thompson]

That's a beautiful song.

[Unnamed Speaker]

You don't think about the danger the bluest of the blue Way out of range here but closer to the moon they forbade me from trying Again and again and no fear and doubt Flames of crimson triple flying.

[Amelia Mason]

Without coming back it's really sad. It's sort of. It's very melancholy. I guess I would say in the same way that you might write a song or see a movie about somebody who's sort of drifting out on the highway alone. She conjures that same feeling, but for someone maybe in a spaceship and maybe in a somewhat science fiction scene setting.

[Stephen Thompson]

I mean. I mean, you've been talking about outer space and you haven't even mentioned the song Sad Satellite.

[Amelia Mason]

Oh, that just seemed a little on the nose.

[Stephen Thompson]

Which, again, though, like, talk about a turn of phrase that is perfectly matched by the vibe of the song. It feels like a song about drifting out into nothingness.

[Unnamed Speaker]

When you knew me the. The days are filled with snow out the window in the winter Ice covering the road.

[Stephen Thompson]

I wanted to mention one other track on this record, it's an Illusion, which has these kind of Angelo Badalamenti guitars and ethereal voices. And I just thought, man, this feels so of a piece with, like, the Twin Peaks soundtrack.

[Amelia Mason]

Oh, yeah.

[Stephen Thompson]

You know, and, like, it made me miss David lynch just hearing that song.

[Amelia Mason]

Well, yeah. And he's someone who didn't feel the need to explain his art overly. And he didn't feel the need to, like, give you a story with like a clear moral or a clear, like, conclusion to take from it. Maybe you didn't even understand what happened. Like, it was like he was delving into the unconscious. And I think she's doing some similar things.

[Stephen Thompson]

Yeah. Both have a great gift for ambiguity.

[Unnamed Speaker]

In the earth to glow if it's an illusion. Will I doubt, Won't know, won't know. I'm still choosing the ground below.

[Stephen Thompson]

That is New Radiations new album from Marissa Nadler. Highly recommended. We've got some more records we're going to talk about for this week's New Music Friday. But first, let's take a quick break.

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[Stephen Thompson]

Learn [e-mail] from NPR Music. It's New Music Friday. I'm Stephen Thompson here with Amelia Mason from WBUR in Boston. Amelia, tell us about wbur.

[Amelia Mason]

Well, I'm so glad you asked, Steven.

[Stephen Thompson]

I didn't even ask anything.

[Amelia Mason]

I just didn't.

[Stephen Thompson]

Amelia, go.

[Amelia Mason]

You ordered me to. Fine. Yeah. I work at wbur, which is one of two NPR member stations in Boston. We're like, blessed to have two in the city. That's pretty rare. Two great ones. Yeah. Yeah. They're very strong. I love them both. But wbur I work on the arts and culture team in the local newsroom and we've got several reporters covering not just but all arts and culture, which I do as well. I have a really good time doing it. I guess. I wanted to plug a couple things. We are working on our annual series called the Makers, which if you live locally in Boston, Massachusetts or Providence, you can check this out. It's artists in the general greater Boston and Massachusetts and New England area who are up and coming and making an impact. And we also have a couple great newsletters and if you're local again, sign up for Arts and Culture newsletter and check out the Field Guide to Boston, which I find to be a great resource for newcomers to the city but also people who've lived here forever. And people can sign up for [e-mail] yes, wbur.org Awesome.

[Stephen Thompson]

Next up, a new album from Molly Tuttle. Molly Tuttle's new album is called so Long Little Miss Sunshine. So Molly Tuttle is one of the best young guitarists in the business. She's won multiple Grammys, she's been nominated for best new artist. She know huge rising star kind of in the Americana space. And this new album is a little bit of a departure. It's her first record to showcase her work on banjo. And you know, the title so Long Little Miss Sunshine is kind of referring to a desire to carve out her own lane and to kind of stop being such a real pleaser and, you know, stop hiding the real her. And that comes through pretty uncompromising set of songs.

[Amelia Mason]

Molly Tuttle comes from the bluegrass world and she's definitely been like edging out of like straight bluegrass for a long time. But I do feel like this album is a departure in a real sense. She's embracing a much more pop oriented sound. I mean, within the, you know, Americana umbrella. And I think that's something that's hard to do. I think that's a hard transition to make. And she does it well. I feel I was listening to it and I was like, why does it work? You know, because I think often I hear things like this and I'm like, okay, this is a bluegrass musician who is trying to like push outside of that genre, but they might not know the other genres very well, you know, pop or like how to mix it in with what they do really well. I think she does integrate her guitar playing incredibly effectively in these arrangements. And I also think the songs are just really good. They're the right kind of songs for this type of treatment that she's doing, and that's why I think it works really well.

[Stephen Thompson]

Yeah. At its best, this thing is magical. There is a song on this album called the Highway Knows.

[Amelia Mason]

I love that one. Yeah, that's one of my favorites.

[Unnamed Speaker]

Every traveler on life's road Needs a companion the rain and snow Cross the desert canyon Found a friend when you jump in shotgun alone last until the journey's end Like a river running to the ocean blue Like a million worlds.

[Stephen Thompson]

Leading back to you I mean, it is so good. Amelia, are you familiar with the subgenre Wave?

[Amelia Mason]

I know you guys are very into it.

[Stephen Thompson]

That's NPR Music. It's a creation of our wonderful colleague Lars Gottrich. And Lars. Lars, you know, kind of created the Wave moniker to kind of capture a certain vibe of, like, very light, summery, joyful music that, in a sense, like, kind of finds a way to transcend its own basicness. And, like. And I. And I don't. And I don't mean that as a pejorative at all. It's a vibe that. That is enormously appealing. And the Highway Knows, to me, is, like, released straight into a Rose Wave playlist. You know, it's like. It feels like Shania Twain crossed with, like, Lilith Fair era 90s singer songwriters. Such a nostalgic quality in, like, such a magnetic way. And then, you know, kind of along the way, she manages to, like, unleash this righteous solo.

[Amelia Mason]

I mean, the solos are really cool, but they don't. They don't suck the air out of the room at all. It's all about the songs. Like, it's all in service to the songs. Summer of Love is one of my favorites. I think that one. It's in the second half of the album, which I enjoy a little bit more than the first half for some reason. It's a little more subtle, maybe in some way. And that song, I just. It feels really nostalgic. I want to listen to it with, like, the windows down in my car. Not that I have a car, but if I did have a car, I'd be listening to it.

[Stephen Thompson]

Makes me want to acquire a car so that I may roll down the windows.

[Amelia Mason]

Yeah. What I'm saying is it makes me want to buy a car. No. Yeah. It's just one of those songs that feels good.

[Unnamed Speaker]

I still have to smile when I think of the way you strummed your guitar Getting lost in a good vibration. We thought we could end the. We thought we could start a revolution.

[Stephen Thompson]

Yeah. That song really feels like a Throwback to, like, early kind of country pop era. Taylor Swift.

[Amelia Mason]

Good call. Yeah.

[Stephen Thompson]

Without seeming unnecessarily derivative of Taylor Swift.

[Amelia Mason]

Yeah.

[Stephen Thompson]

And later on the album, as you said, you get some really strong mission statements as this album rolls along. There's a track called Old Me, New Wig, which is the song that contains the album's title, you know, know, so Long Little Miss Sunshine. And, you know, it's a song kind of about getting tougher with age. And the title kind of refers to something that is borne out in the album art. It contains a bunch of pictures of Molly Tuttle in different wigs. And then there's a photo of her with no wig, no hair at all. Molly Tuttle has alopecia and generally wears wigs, but, like, is seen in the album art in her natural state. And that really ties into the overarching themes of this record as something that is like, this is who I am. This is what I'm all about. This is what I have always been. And, you know, whatever face I've had to put on, you know, that's fine. That's been my prerogative, but this is who I am.

[Amelia Mason]

Yeah. And this isn't the first time that she's been open about her alopecia and, like, how that's affected her. But I do think she's owning it, at least in the visuals, really strongly on this album. And she's talked a lot about just how hard it was to kind of get past her insecurities about what other people might think, especially as a performer. You know, you're on stage and there's just so much scrutiny on you.

[Stephen Thompson]

So, Amelia, we've been.

[Amelia Mason]

We've been dancing around in the room.

[Stephen Thompson]

We've been dancing around one. One song that I think you and I agree on. An otherwise terrific record that is a gigantic misstep.

[Amelia Mason]

I don't like it.

[Stephen Thompson]

About midway through the album, Molly Tuttle, and it's a bold choice, but she covers the Iconopop Charli XCX song. I love it.

[Unnamed Speaker]

I got this feeling On a summer day when you were gone.

[Stephen Thompson]

And in its original form, that song is very much like kind of a middle finger extended, just like big profane banger. And then Molly Tuttle kind of does her take on it here.

[Unnamed Speaker]

I don't care. I love it.

[Amelia Mason]

I don't care Now, Amelia, Steven, I was gonna let you go first. I think we have different reasons for disliking it, but I want to hear yours.

[Stephen Thompson]

For me, this song really benefits from a sense of momentum. This is a hard charging song. Molly Tuttle has the ability to perform with colossal speed and dexterity. But here she chooses to make the song wispier and more ethereal. Complete with kind of rising inflection that I just don't think works at any.

[Amelia Mason]

Oh yeah, I was surprised that she covered this. This is not a song people cover. I think I came to a slightly different conclusion. But I think you're right that you make a very good point that the appeal of the original was its energy and brashness. And honestly, I don't really like that song to begin with that much.

[Stephen Thompson]

See, no, we disagree there because I love that song.

[Amelia Mason]

Yeah, well, it was like incessant for a while, which may have made it made me. So you're already taking a risk there. If you're picking a song that was incessant but not considered a classic exactly, Then you've sort of laid bare what the song is. And in my personal opinion, this song cannot stand up to this treatment. Like, if you're gonna cover a song, the pleasure in a cover partly is that it's familiar. And I think this mostly is riding on that appeal. And unfortunately, I think the relative vapidness of this song, in my opinion is just sort of laid bare. I just don't think it has a lot to say as a song, I guess.

[Stephen Thompson]

Misspent talent on an otherwise really magnificent record that is so long. Little Miss Sunshine by Molly Tuttle. Next up, terrific new record from the band Pile. It is called Sunshine and Balance Beams.

[Unnamed Speaker]

Perched upon a dried out limb we can hear for miles it cracking.

The.

Vision of it all out Von's always the last thing to leave.

[Amelia Mason]

Pyle is a band from Boston and they are worshiped here. I went back and found a profile I wrote of this band from one decade ago. And it wasn't even their first album. No, they've been going at it and I would put them in kind of like the DIY post hardcore space. So this is music that, you know, certainly isn't of mainstream appeal, but really has a following here. And this record I think is sort of exemplary of the sound that Pyle has created over the years.

[Stephen Thompson]

Yeah, my immediate take listening to this record, which I loved and I was not terribly familiar with their discography. My immediate thought was, man, this would been have have ruled College Radio in 1993. In my day, this would have been huge.

[Amelia Mason]

Well, they are in a way, in our day, in their way. Yeah.

[Stephen Thompson]

There's a track on this album called Bouncing In Blue.

[Amelia Mason]

That's the one I was gonna bring.

[Stephen Thompson]

Up yeah, yeah, Boy, this is such a great so.

[Unnamed Speaker]

Or my ris to refuse.

[Stephen Thompson]

It starts out kind of slow burn, but then all of a sudden it just careens into something more and more int.

[Amelia Mason]

This band started out a long time ago as a solo project of its lead singer, Rick McGuire, who writes the lyrics and fronts the band. And the way he writes, it's just very distinctive. And Bouncing In Blue is a great example of that. If you listen the first half of that, the beginning of it is, as you say, it's quieter, it's slower. He writes in the like rhymes. And I imagine if he condensed it, it could have been a more sort of conventional song. But he just stretches it out over these longer phrases. And then he often, like. He puts the emphasis on the wrong syllable. You know, it's like it's just never what you expect. And then it goes crashing into this crescendo. Riffs for days, you know, One of the things about Pyle that's always been true is that I find the experience of listening to their songs like, you just don't know where you're going. Like, you don't. You can never settle into that comfortable, like, verse chorus, kind of like, I know what's gonna happen next, right?

[Stephen Thompson]

And it's interesting that we're saying this like, there's no fat, there's no excess. But at the same time, sometimes you take apart these songs, there are two different songs that I really love on this record. One is called Holds and one is called Carrion Song, and, you know, Carrie Anne Song closes the record. Both of those songs have string codas, but those strings don't sound jarring. They don't sound out of place. They belong there. And so the fact that we're able to talk about this record as, like, all killer, no filler, nothing, not a minute wasted. While at the same time, the songs have these, like, radically different components kind of clashing with each other. Really special speaks to how assured this band is in its songcraft.

[Amelia Mason]

I think one of the big challenges for bands like Pyle, of course, is there it's a live band. That's where their fans are meeting them for the most part. So learning to, like, translate that to the studio, that's always a journey for bands that are essentially that were sort of born in the live element. And I do think they're getting more inventive and creative and, like, willing to take, like, these sort of sonic excursions.

[Stephen Thompson]

Great band, that is Pyle. Their new album is called Sunshine and Balance. Beams. We've got one more record we want to talk about in depth, as well as a lightning round of spot. Some of the other records out today, August 15th. But first, let's take a quick break.

[Advertisement Speaker]

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[Stephen Thompson]

From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Amelia Mason from WBUR in Boston. Next up, a new album from Joseph DiCosimo. It is called Fiery Gizzard.

[Unnamed Speaker]

Prettiest thing I've ever seen Seen, seen, seen above a bean Prettiest thing I've ever seen.

[Amelia Mason]

Joseph Dicazimo is a banjo and fiddle player and singer based in North Carolina. He plays traditional music from Appalachia and the South. And I love this album. I would put him in a category of traditional old time players who are very studied in the tradition but are really pushing the sonic boundaries of old time music, as they would call it. And he really just does a beautiful job with all of the repertoire on this album. Every single one of these songs that except one, I think are actually traditional. So they're sourced from players of yore and probably also many of them are played currently at jam sessions and stuff like that at festivals. But what he does with it is really different.

[Stephen Thompson]

Yeah. My first thought listening to this record is just that it is, it's so warm. You know, I immediately thought to myself, there's a track on it called I Had a Good Father. And, and, you know, it's, it's, it's, you know, showcasing not only his playing, but also this kind of plaintive, reflective vocal that just serves the song so beautifully. It's not a, it's not a flashy vocal, but it's, it's really grounding to the song.

[Unnamed Speaker]

Now they're in bright glory. I know their soul. They laid a good example for me. They taught me how to pray.

[Amelia Mason]

Yeah, it's gorgeous. You know, something to know about this music is it's usually performed on just acoustic instruments, fiddle, banjo, guitar, bass, you know, stand up bass. Banjo is the instrument that he plays most on the, but also has other folks playing melody. And then there's like synths and there's percussion. I think there's a Sort of ambient, experimental edge. And there are others doing similar things like Sam Amadon, Klig Schray, who's on this record, is also somebody who's sort of working in that space. And I was thinking about it, I was like, why does this work? Like when you take old music and you put new instrumentation on it, maybe you have a really reverby electric guitar, which I think he does at some points. You always risk making it sound like, ah, it's a banjo with drums. Like, I don't know, like it could be hokey when you describe it. But this is like fully, fully realized and integrated. It all makes sense.

[Stephen Thompson]

Well, there are a lot of kind of shimmering, resonant sounds. There are several tracks in particular, there's a track called Shady Grove that really has this droning quality. And I think, you know, that makes these songs sound classic and current at the same time.

[Amelia Mason]

Yeah, this is one of the things that about the old time scene is people are very studied. And actually Joseph Diczimo is too. He has a PhD in old time music. And this is music that has been collected and archived and people go back to the source recordings and often can talk about, well, I learned it from this person at this festival. And that's a beautiful thing. But it also, I think can feel limiting. It means everybody is so careful about paying homage to the right people and doing everything properly and understanding like where all this music came from so that it's not coming out of a contextless sort of situation. He understands all of that, he knows it really well. But he's not limited well.

[Stephen Thompson]

And every once in a while he's evoking other artists that aren't necessarily that old time. There's a track called Pretty Fair Maid.

[Unnamed Speaker]

Pretty Fair Maid all in the garden A brave young soul you're riding by.

[Stephen Thompson]

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

[Amelia Mason]

Yeah, it's looking back, but it does not feel nostalgic to me. Yeah, it doesn't feel like fetishizing of like an old kind of music. It's like this is a living tradition and you can hear everything that he's hearing coming through.

[Stephen Thompson]

Yeah, it's a great record. That is Fiery gizzard. New album from Joseph DiCossimo Emilia. We could not possibly get to every terrific album out today, August 15th, so we wanted to do a lightning round of some of our other favorite albums out today. I'm gonna kick us off. Last year, the singer songwriter Cassandra Jenkins put out a magnificent record called My Light, My Destroyer. It's full of warm, wise, lived in observations about human nature. And now that record is getting a mostly instrumental companion piece that is engineered very deliberately to be as soothing as humanly possible. Just in case you want to feel calmer and more comfortable in your own skin. I don't know why you would. You should check out this record. The vibe is right there in the title. It's called My Light, My Massage Parlor.

[Amelia Mason]

Caspa Combs also put out an album this week. It's called Interior Live Oak. I really, really enjoyed listening to this record. It has beautiful melody. It has his sort of classic, evocative, poetic, enigmatic songwriting. I could just listen to it over and over.

[Unnamed Speaker]

Don't know when I'll see you.

[Stephen Thompson]

Until.

[Unnamed Speaker]

Then.

Don'T know much, it turns out.

About who stays and who goes. Until we meet again.

[Stephen Thompson]

The pop singer Audrey Hobert is probably best known for co writing a few hits with her childhood friend Gracie Abrams. But Hobert's own music exudes a distinct personality of its own. Funny, quotable, deeply catchy, her songs feel equally suited to kind of summery Porch hangs and viral TikTok fame. My brilliant colleague Isabela Gomez Sarmiento is a huge Audrey Hobart fan and Issa just wrote a feature on her. We'll post a link to that piece in our episode notes. Audrey Hobert's new debut album is called who's the Clown?

[Amelia Mason]

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

[Stephen Thompson]

Day.

[Unnamed Speaker]

Poking out Better tell your man.

[Stephen Thompson]

Finally something unexpected to close out your way week. Brett McKenzie is the Oscar winning half of the New Zealand musical comedy duo Flight of the Conchords who've made some of the funniest music of the 21st century. Now he's got an album that is largely free of jokes. It's a charmingly breezy record that recalls classic singer songwriters from Billy Joel to Randy Newman. Brett McKenzie's new album is called Freak Out City. I can't believe anything. I can't believe what I said. Now, Amelia, we have reached the part of the show where we put each other on the spot and call upon ourselves to pick one song from all our preparation for this episode that we are gonna take away as our very favorite.

[Amelia Mason]

Well, it was hard to choose one song. Sometimes the song just pops out at me. But I just. I was really enjoying the album experience this week. However, forced to choose, I did choose Billy Button by Joseph Dicosimo. I love this song. It is. Is so beautiful, but it's also kind of like a nursery rhyme.

[Unnamed Speaker]

Gone wonky Hog me I got plenty Sheep meat's too good for the fellas Ram, lamb, sheep, mutton Good enough for Billy Button Any other living glutton walking Joe, I'll be your friend It's a long way to travel with money for.

[Stephen Thompson]

To spend.

[Unnamed Speaker]

Walking, talking Ginger, glim and double double trouble I'm bound for the happy land of Canaan the old tomcat.

[Stephen Thompson]

I don't know how to choose. Like, how do you choose, Amelia, between.

[Amelia Mason]

Wait, have you really not chosen yet? No.

[Stephen Thompson]

I often do this on the floor. How do I choose between Bouncing in Blue from that Pyle record? You know, that song that just, like, takes you in so many directions at the same time, versus a perfectly straight ahead song like the Highway Knows from Molly Tuttle, which is just, like a perfect piece of wave. How do you.

[Amelia Mason]

I think you're trying to do both, and I think you're cheating.

[Stephen Thompson]

You're not wrong. All right, fine.

[Amelia Mason]

But it's your podcast, and you can do whatever you want.

[Stephen Thompson]

No, you have shamed me into submission. I'm gonna go with Bouncing in Blue from Pyle.

[Amelia Mason]

All right.

[Stephen Thompson]

A killer, killer song that contains multitudes. It contains two vastly different songs. The first is just kind of setting you up for the wallop of the second, and I just kept coming back to it. I just listened to that song over and over again. So I'm gonna go with that Bouncing in Blue by Pyle. But so much other great Music out today, August 15th. That is our show for this week. Thank you so much, Amelia Mason, for taking time out of your week at WBUR in Boston.

[Amelia Mason]

It was my pleasure. I had such a good time.

[Stephen Thompson]

It has been a joy to have you if you enjoyed this week's show, we always appreciate a positive review on Apple or Spotify or whatever app you're listening to right now. This episode was produced by Vincent Akovino and edited by Otis Hart. The executive producer of NPR Music is Soraya Martin Mohammed. We'll be back next week to discuss new albums, including the return of Nourished by Time with Tad Cautious from Vermont Public. Until then, take a moment to be well brew yourself a great big batch of iced tea and treat yourself to lots of great music.

[Unnamed Speaker]

Snaps those fingers and I don't exist.

[Stephen Thompson]

SA.

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