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

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.

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).

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).

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).

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).

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).

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).

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).

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).

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.

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).

Credits

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

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