New Music Friday: The best albums out Aug. 8

Summary

All Songs Considered: New Music Friday – The Best Albums Out Aug. 8

Release Date: August 8, 2025

In this episode of NPR’s flagship music discovery program, "All Songs Considered," host Stephen Thompson teams up with DeShawn Nance from WJSU's The SIP in Jackson, Mississippi, to delve into the latest releases for August 8th. The duo explores a diverse array of new albums spanning genres from hip-hop and alternative R&B to country and indie pop. Below is a detailed summary capturing the key discussions, insights, and standout moments from the episode.

---

Featured Album Reviews

1. JID – God Does Like Ugly

JID, the East Atlanta rapper known for his charismatic performances and intricate lyricism, kicks off the episode with his fifth studio album, God Does Like Ugly. Thompson praises JID’s extensive collaborations, noting, “If you just look at the list of features on this record... Don Toliver, Tiny Dolla Sign. Just the list goes on and on” (01:03).

DeShawn highlights JID’s ability to bridge different musical tastes: “He makes me like people that I wouldn't like listen to of my own free will” (01:48). The conversation underscores the dense, reference-packed bars and the seamless integration of various guest artists without overshadowing JID’s distinctive sound. Notable tracks like "G's the I" and the lengthy "Waco Texas" exemplify his skill in weaving pop culture references and maintaining lyrical depth (03:07).

2. Ethel Cain – Radio. Willoughby Tucker, I'll Always Love You

Ethel Cain’s expansive and experimental nature is the focus next, with her latest release, Radio. Willoughby Tucker, I'll Always Love You. Thompson describes it as “a deeply fraught first love” project that exceeds 73 minutes with 10 tracks (05:38). DeShawn compares the album’s emotional weight to “the end of a rom-com that didn't end too great” (07:26), emphasizing its melancholic and dramatic tones.

Tracks like "Dust Bowl" and "Waco Texas" are highlighted for their evolving soundscapes and emotional resonance, requiring listeners to invest patience to fully appreciate their depth (09:59). The album’s ability to intertwine grand, cinematic narratives with personal angst solidifies its standing as a compelling listen (10:13).

3. Amarae – Black Star

Amarae’s Black Star is characterized by its Afro-pop and indie influences, merging TikTok-friendly rhythms with R&B and Afrobeat elements. Thompson remarks on the album’s contemporary edge, noting its suitability for platforms like TikTok: “This record feels made for TikTok” (17:30).

DeShawn paints a vivid picture of the album’s atmosphere: “a weird, futuristic, a little bit dystopian nightclub” (19:18). The discussion highlights tracks like "Kiss Me through the Phone" and "She Is My Drug," which blend nostalgic 80s pop influences with modern production, creating a sound that's both forward-thinking and nostalgically familiar (19:43).

4. Charlie Crockett – Dollar a Day

Charlie Crockett’s Dollar a Day stands out with its old-school and new-school country fusion. Thompson likens Crockett’s prolific output to vintage country legends, appreciating his ability to maintain quality across multiple releases (22:35). DeShawn praises tracks like “Crucified Son” for their dynamic contrast and relatability: “When I hear country music, I'm listening for that relatability in subject matter” (24:31).

The album features a blend of throwback sounds with contemporary themes, as seen in “Tennessee Quick Cash” and “Santa Fe Rings,” which update classic country motifs to address modern issues like payday lending and personal struggles (24:31). Crockett’s authentic storytelling and evolving sound make Dollar a Day a noteworthy addition to the country genre (26:14).

5. Gordy – Like Plasticine

Gordy’s Like Plasticine is lauded for its haunting beauty and catchy melodies. Thompson admires Gordy’s ability to infuse personal experiences into her music, particularly in tracks like "PVC Divide," which reflects on her time as a doctor during the COVID-19 pandemic (29:46).

DeShawn expresses excitement over discovering Gordy’s work: “This project is one of those things that if you can't relate from a personal place, she will allow you to relate from her perspective” (31:09). The album’s diverse sonic landscapes, from the eerie "Alien Cowboy" to the infectious "Cutting Room Floor," showcase Gordy’s versatility and emotional depth (32:16).

---

Lightning Round: Other Notable Releases

• Hayes Carl – We’re Only Human: A roots rock album reminiscent of Lyle Lovett and Randy Newman, featuring witty and socially conscious lyrics.

• Big Freeda – Pressing Onward: Combining heavy gospel influences with contemporary beats, this project demands love and appreciation for its spirited delivery.

• Ashley Monroe – Tennessee Lightning: Written after her battle with cancer, this 17-track album serves as a victory lap with contributions from artists like T Bone Burnett.

• Bryson Tiller – The Vices: An evolution from his previous work, leaning more into hip-hop while maintaining his R&B core.

• Ada Lee – When I Paint My Masterpiece: A Canadian singer-songwriter’s third album, blending folk legacy with forward-thinking compositions.

---

Favorite Tracks

At the episode’s conclusion, both hosts share their favorite tracks from the week’s releases:

• DeShawn Nance selects Big Freeda's "Never Forget," describing it as embodying a “gospel-inspired bounce” (38:27).

• Stephen Thompson chooses Gordy’s "Cutting Room Floor," appreciating its “mile-wide summer jam” and Gordy’s soaring vocals (39:12).

---

Closing Thoughts

Stephen and DeShawn wrap up the episode by acknowledging the breadth of new music and the exciting directions artists are taking. They encourage listeners to explore these releases, highlighting the importance of diverse collaborations and the evolution of genre boundaries.

---

Notable Quotes:

• “He makes me like people that I wouldn't like listen to of my own free will.” – DeShawn Nance on JID’s collaborative approach (01:48).

• “It feels like the end of a rom-com that didn't end too great.” – DeShawn Nance describing Ethel Cain’s album (07:26).

• “This is a record that takes its time. There is a track on this record called Willoughby's Interlude... it's seven and a half minutes long.” – Stephen Thompson on Ethel Cain’s expansive sound (08:33).

• “When I look at JID, I really think of your favorite rapper's favorite rapper.” – Stephen Thompson highlighting JID’s influence (01:03).

• “If you can't relate from a personal place, she will allow you to relate from her perspective.” – DeShawn Nance on Gordy’s Like Plasticine (31:09).

---

For those who missed the episode or wish to revisit their favorite moments, NPR Music’s "All Songs Considered" offers a comprehensive exploration of the latest in music, celebrating both established artists and emerging talents.

Transcript

[Amazon Pharmacy]

This message comes from Amazon Pharmacy. When you're on hold with the pharmacy and you hear your call is very important, after the 10th loop, you start to doubt that Amazon Pharmacy delivers meds to you fast. Without the hold music, Amazon Healthcare just got less painful.

[DeShawn Nance]

A quick note before the show.

[NPR Announcement]

This podcast contains explicit language.

[Stephen Thompson]

Happy Friday, everyone. From NPR Music. It's New Music Friday. I'm Stephen Thompson here with DeShawn Nance of WJSU's the Sith in Jackson, Mississippi. Hey, DeShawn, welcome to the show.

[DeShawn Nance]

Thank you. Glad to be here.

[Stephen Thompson]

It is a pleasure to have you. You know, we're gonna go right into some music this week with Jid the rapper. Jid has a new album called God.

[Jid]

Does Like Ugly Fall in the Crossing still kicking about your love and by that time it got me weak south side of the club last night and he took me on my feet.

[Stephen Thompson]

Hitting.

[Jid]

My peak she hitting my line Thought that I was tied up with a freak it's a lie I was probably high shouting Cause the loud got me on a leash Tried to call back but you didn't respond to me.

[Stephen Thompson]

Jid is a rapper from East Atlanta. This is his fifth studio album. He's also collaborated with a ton of other artists. I have to say, for those who aren't familiar with him, check out his Tiny Desk concert. You really get a sense of this kind of explosive charisma. And when I think of Jid, I really think of like, your favorite rapper's favorite rapper. If you just look at the list of features on this record, Westside Gun Clips, Vince Staples, Earth Gang, who he's worked with a bunch before, Don Tolliver, Tiny Dolla Sign. Just the list goes on and on.

[DeShawn Nance]

The thing that I really like is that he makes me like people that I wouldn't like listen to of my own free will. So guys like Don Toliver, he's featured on my personal favorite. And you know something that I just wouldn't have thought that I could get out of? Don Toliver.

[Stephen Thompson]

Sometimes you can tell, you know, when you hear a record with a lot of features on it, sometimes you get a sense of the esteem that the artist is held in by how hard those guests bring it when they show up on the record. And you mentioned Don Tolliver. He shows up on what we on. It's kind of this spare earworm that kind of breaks burrows under your skin, but then keeps building and building. And I had a little bit of the same reaction where I was like, man, Don Tolliver is bringing it to.

[Ethel Cain]

This song rolled out another state that I made a hundred thousand in a day that's a half a million a week. Kind of hard to speak to me from a plane we are not the same she be trying to run me the brain number exchange fluids Ain't paying attention to it I'm intuitive and it's a crude and booty stank Give me one of them but it make it hard for a to leave I know it ain't love that you what I need I'm sipping a cup I rinse and repeat I send and repent I send and repeat offender with a trigger My sleeve a spender on a that I please this winter so the rest of my freez.

[DeShawn Nance]

You know, the flip side of a heavy featured project is your sound may get lost in a record that has a lot of features on it. And I don't think that that happens in this project at all.

[Stephen Thompson]

I agree completely. And then when he's kind of leading the charge, you know, a track like G's the I I just the lyric sheet for that song, I haven't seen it. It must be 15 pages long.

[DeShawn Nance]

Yeah, it's. It's incredible actually.

[Ethel Cain]

Now they say you thawed out Gangster, gangster every bugged out armed in danger rush Drained in drugged out anxious Ain't you banged up banger Tell them stop playing with us.

[Stephen Thompson]

I really, you know, came away from this record and I've had this reaction to past Jid records as well, where it's like he specializes in these kind of dense, twisty, reference packed bars, you know, songs that are weaving in samples and busy beats and still find room for all these guests. And it's, it's so funny if you just were to like jot down, you know, a list of the references and, you know, as I, as I think back on listening to this record, there's a reference to Bob the Builder. Yeah, there's a reference to Crash Bandicoot. You know, there are these just kind of like funny references to pop culture and video games and just the larger world.

[DeShawn Nance]

And I think that that's because Jid, he blew up as an older rapper. I think he was about 27 when he was first getting the mainstream appeal that he has now. So the experiences that he had were that of the prior generation. So it's like he's the. He's the old guy in the new generation. And that's probably why he's able to mesh the two so well. That's probably why you get to have Eclipse and a Don Toliver. Feature on your project because he knows about the old and knows how to maneuver the new.

[Ethel Cain]

Play the game by the code. Don't change on the game.

[Stephen Thompson]

Yeah, and when you're a rapper, when you're just, like, filling the lyric sheet, right, you want somebody who's been around for a little while and has kind of processed the world and collaborated with a lot of different artists. That's kind of how you build up the number of things to say that he has here. So he feels like he's just in that perfect sweet spot between young and old.

[DeShawn Nance]

Yeah, he sounds inspired. He doesn't sound like he's trying to put out an album or for the sake of putting out an album. Jid is one of those people who can make you think that he's not saying anything, but if you really listen to him, he's saying a lot. He sounds like a newer rapper, but he speaks like an older rapper.

[Stephen Thompson]

That is Jid. His new album is God Does Like Ugly. Next up, we've got a new album from Ethel Cain. It is more than 73 minutes long, and it is called Radio. Willoughby Tucker, I'll Always Love youe.

[Amarae]

We were in a race to grow up Yesterday through today till tomorrow but when the plan blew up A piece of shrapnel flew and slowed up part of you the doctor gave you until the end of the night but not till daylight not till daylight.

[Stephen Thompson]

Ethel Kane is kind of the artistic Persona of a Florida raised artist named Hayden Anhedonia. Ethel Cain, you know, to prior, put out this amazing record in 2022 called Preacher's Daughter, which is kind of this concept album about growing up trans in Florida in a deeply religious environment. And, you know, her music is expansive and experimental. She put out an album of guitar drones earlier this year called Perverts. She really puts, you know, a lot of thought into albums that are kind of speaking to larger concepts. And Willoughby Tucker, I'll Always Love youe is kind of the story of this deeply fraught first love, you know, kind of growing up in Florida. And this record, 10 songs, more than 73 minutes long.

[DeShawn Nance]

Yeah, I saw the runtime and the track list before I actually heard a single note from it. I was like, jazz. Cause, you know, and, you know, in jazz, some things can go from a minute and a half all the way to 25 minutes, and we can call it one song. So I was very intrigued when I actually heard the project. Three words, one phrase came to mind, and that was alone at Prom. So it felt like. It felt like the end of A, of a, of a, of a rom com that didn't end too great. You know, it's raining and our female protagonist is alone at the end of prom, her date is gone. And, you know, it was, it was super melancholy and dramatic. Even if she wasn't saying anything, you felt everything that she had said, you know, at the eight minute moment of the ten minute song. After she's been done speaking for four of those minutes, you still feel, you still feel the, the angst and anxiety and sadness.

[Stephen Thompson]

It's a beautiful record. And my three word phrase that I kept coming back to was room to breathe. This is a record that takes its time. There is a track on this record called Willoughby's Interlude. Often when I think of interludes, you know, when you're listening to like a long record and it says Interlude, it'll be like this kind of quick interstitial instrumental moment. And Willoughby's theme is like that. But it is seven and a half minutes long and it's one of three instrumentals out of ten songs. And so it's a record that requires and I think rewards quite a bit of patience. But when you get into kind of the meat of the record and songs that have a little bit more lyrical content, instead of just kind of taking a moment to breathe instrumentally, you get these just knockout, beautiful songs. You know, a song like Nettles that unfolds over the course of eight minutes is so, so beautiful. And it closes with the song Waco Texas, which is minutes long, but it actually earns that run time. It doesn't kind of roll along so much as it wafts like smoke.

[Amarae]

Yeah, my baby acts cool but they all know something ain't right.

[DeShawn Nance]

One thing that I try to do when I listen to music is I listen to things in different places and in different ways. And when I turned on Ethel Caine, I tried to focus on something else, but it was so good at any point that, you know you can't afford to not be listening because it's going to grab you back. It's going to say, hey, I'm still on.

[Stephen Thompson]

There's a phenomenal track on this record called Dust bowl that's just kind of this warped and woozy dirge. You know, you almost feel like the song is melting in the summer sun as it's playing, even as it's building to something that's, that feels really grand and epic. And as you said, it's the kind of thing where you could, especially with these instrumentals, you could let them kind of, kind of meander into the background. But a song like that, the sound is always changing. It's always kind of warping as it goes along, so you can really get lost in it. Right.

[DeShawn Nance]

So many times I found myself listening and I was like, did the song change? And. No, it's one of those things that it's going to draw you in because you are going to find something that interests you at every twist and turn.

[Stephen Thompson]

Yeah. And I, you know, I just think, you know, often, you know, we'll kind of throw out reference points over the course of these conversations. Like, if you like this, try this, you know, And I was listening particularly to that 15 minute Waco, Texas song that closes the record. I really just thought, like, man, this is just right of a piece with, like, what Lana Del Rey has been trying to do with her career of, like, telling these tales of doomed romance, telling these, these big, grand cinematic songs that move kind of glacially and. And I just thought, like, what a perfect companion piece to what Lana Del Rey has kind of tried to do with her records. Including. Including records that sprawl out to, you know, 70, 80 minutes long.

[DeShawn Nance]

@ no moment did I find myself bored with the length of a piece. Like I said, I listen to jazz. So, you know, 15 minutes doesn't scare me for a record. You know, I know that it does for a lot of people who aren't able to hear music with no words. But it's one of those projects where you really feel the subject matter despite whether you can hear someone speaking or not.

[Stephen Thompson]

That's Willoughby Tucker, I'll Always Love youe, the new album from Ethel Cain. We've got a few more records coming out today. August 8th. We're gonna talk about those, but first let's take a quick break.

[NPR Announcement]

This message comes from Amazon. When you're on hold with a doctor's office or pharmacy and the operator says, you call is very important to us. After the tenth time, well, suddenly your call doesn't seem very important to them at all. Amazon One Medical has 24. 7 virtual care. And Amazon Pharmacy delivers meds right to you fast without any horrible hold music. Thanks to Amazon, Healthcare just got less painful.

[Amazon Pharmacy]

This message comes from FX's Earth. From Creator Noah Hawley and executive producer Ridley Scott comes the first television series inspired by the legendary Alien film franchise. A spaceship crash lands on Earth bring five unique and deadly species more terrifying than anyone could have ever imagined. And a technological advancement marks a new dawn in the race for immortality. FX's Alien Earth premieres August 12th on FX and Hulu this message comes from Schwab. At Schwab, how you invest is your choice, not theirs. That's why when it comes to managing your wealth, Schwab gives you more choices. You can invest and trade on your own. Plus get advice and more comprehensive wealth solutions to help meet your unique needs. With award winning service, low costs and transparent advice, you can manage your wealth your way at Schwab. Visit schwab.com to learn more from NPR Music.

[Stephen Thompson]

It's NEW MUSIC Friday. I'm Stephen Thompson here with desean Nance of the SIP in Jackson, Mississippi. Desean, tell me about the station.

[DeShawn Nance]

Well, what we do at the SIP FM is we bring hip hop and urban alternative music together. So very focused on artist discovery. So we want you to come for the people that you know, the names that you know and you like, and we want you to stay for the people that you learn about.

[Stephen Thompson]

Nice. You want sonic gateways?

[DeShawn Nance]

Yeah. There's new music every week at the station and, you know, it's a good time over there. We want, I want every hour to sound like a set that you can't turn off.

[Stephen Thompson]

Nice. Well, we like to carry a little piece of Jackson State University with us at NPR Music. Our our man Bobby Carter, who helps run the tiny desk is a jack, very proud Jackson State alum.

[DeShawn Nance]

I don't doubt it. You know, from a technical perspective, when I watch a tiny desk and I see those microphones and I'm like, how are you getting that type of sound from those microphones? I think it's black magic. I don't know the secret. You know, I will find out one day.

[Stephen Thompson]

I will tell you. It takes a village. It is a lot of very, very, very brilliant tech professionals who go to make it sound as effortless as it sounds.

[DeShawn Nance]

Y' all do an amazing job.

[Stephen Thompson]

Thank you, Dashawn. All right, next up, Amarae. Amarae has a new album called Black Star.

[Charlie Crockett]

You know I'm still up. We can talk all night or should I wake you up? I still get excited when you text me hey, I won't fall asleep. You know I'm always here to call when you want to, when you care. Is there somebody, somebody, somebody, somebody there? I can feel it in my brain when you're loving me, loving me, loving me, loving me no one feels the same. Kiss me through this mobile phone, baby, baby, what are you wearing? Screenshots of your camera roll Baby, what are you sharing? I want, I need, I long, I fiend, I soak my favorite sheets at the thought you'd be with me.

[Stephen Thompson]

So Amore is an Afro pop star. She's Ghanaian American. And you know, listening to this record and kind of listening to her career up to this point, she manages to capture that. That high pitched breeziness of a lot of like really TikTok friendly artists with R B, pop, indie pop, Afrobeat music. She just kind of swirls it all together and kind of like the JID record we talked about at the top of this episode. She works in a lot of guest artists, including fellow TikTok innovators like Pink Panthers pops up. But also, you know, Naomi Campbell pops up on this record. So you get a lot of different voices and in a record that's really easy to break down, an excerpt like this record for me feels made for TikTok.

[DeShawn Nance]

You get that at every turn in this project. That Pink Pantherist piece, Kiss Me through the Phone, I know that a lot of people my age listen to that title and think, soulja Boy. No, this is not what that is. But it's a very high energy driven project. If you look from top to bottom, it has some fantastic pieces. Track 5B 2B, she's my drug, which is an amazing piece actually.

[Stephen Thompson]

Yeah. I mean, there's. Her voice is like spun sugar. It's just such a frothy, sweet, catchy mix. And she's extremely quotable. Right. Like you mentioned, Kiss Me through the Phone. I mean, Pink Panthers is so good at making songs that bridge the gap between pop radio and TikTok. But she's also extremely quotable and she knows when to hit a line and let it repeat, let it burrow into your head. You mentioned the song she Is My Drug. You know, that song is interpolating Cher's Believe, but having it read as do you believe in life after drugs? And you can just imagine these turns of phrase, these choruses, these repetitious little sugary moments. You can just imagine them playing over looped video on TikTok. This. This record feels extremely current that way.

[DeShawn Nance]

You know, when I listen to projects, I try to place them in environments. When I close my eyes and I turn on Amarae, I'm in a weird, futuristic, a little bit dystopian nightclub that has these upbeat, harsh techno afrobeats and, you know, not my personal environment as an introvert, but, you know, if I watched it on tv, I don't think that I could get up and turn something else on. Yeah.

[Stephen Thompson]

And like so many artists who have that eye toward the future. Dispensing music via TikTok. Dispensing music in kind of unconventional ways. She also has a real gift for knowing how to deploy nostalgia. There's a track called Smo, which kind of blows out her sound over the course of four and a half minutes, which, for an artist like this is an epic, you know, compared to somebody like Ethel Cain. But you're hearing kind of strewn throughout this song, these drum machine patterns and keyboards that scream 80s pop, right? So she's got one foot in the future and one foot in the past in ways that feel of the moment.

[DeShawn Nance]

Steven, you literally read my mind.

[Stephen Thompson]

I'm.

[DeShawn Nance]

I'm sitting here listening to you and thinking. This project pushes Afro beats and the house pop genre forward in so many ways. But if 40 years ago it came on, you would think that this was 80s pop, 80s house.

[Stephen Thompson]

That's amore. Her new album is called Black Star. Deshawn. We're gonna give people a complete 180. We're gonna go to our next record. It's by Charlie Crockett. Charlie Crockett has a new album called Dollar a Day.

[Gordy]

Can somebody tell me what's going on? Stuck in the saddle from the first light of dawn Worried if dying one of them horns Stuck in my belly Is worth being poled Stuck in the saddle for founding A dollar day I'll never be rich I found out too soon Never could seem to get past the saloon Cowboys and money no mix can't you see Made only briefly Then part company Stuck in the saddle for founding A dollar A Day Charlie Crockett.

[DeShawn Nance]

Is probably the most left field listen for me personally, but it was one of those projects where I was like, hold on. You know, it was a project that stood out for me from its dynamics in contrast to what traditional country music sounds like and what we think that it sounds like today.

[Stephen Thompson]

Yeah, I mean, Charlie Crockett kind of above all else, he is a very prolific kind of old school slash, new school country singer. And I think part of what makes him feel truly old school is just how prolific he is. You know, we talked about a record that he put out, you know, back in March called Lonesome Drifter, and we're. We're five months later talking about another new Charlie Crockett record. You know, he's just. He cranks out records kind of in the spirit of a lot of old school country singers and kind of rootsy singer songwriters, and he's able to kind of tap into these classic sounds and kind of crank them out in a way that a lot of these vintage artists were doing.

[DeShawn Nance]

My favorite piece of crucified Son. I believe that's the second track. It's amazing. I turned it on and I put it on repeat for about four times. And, you know, I did go back and do my research on. On Charlie Crockett, considering that I hadn't heard of him. Being able to put out that volume of music and retain your type of quality is very hard, because when. When you find your formula, it's difficult to break from that, to push yourself forward. And I think that he did that very well in this project.

[Gordy]

Got a plane out of Austin this morning in the drizzling rain Blue bonnets line the highway sign Let me know it's spray they want to put me in a TV show I don't know if it's right But I said yes Because I can't refuse those crystal city lights Crucified sun I was born the lucky one they can't tell me what I've done I'm a crucified son well.

[Stephen Thompson]

And it's really interesting how he's able to kind of create throwbacks that are still contemporary. So there's a track on this record called Tennessee Quick Cash that is updating kind of the 16 tons model. Right. Like, you know, you're going through the. You're going through life, and life is just kind of pushing you down in the spirit of a song like 16 tons. But it's about payday lenders, and it. So it manages to sound current at the same time that it's throwing back to country songs from decades ago. There's a track called Santa Fe Rings that has, like, ghost riders in the sky vibes. You know, what kind of noirish early rock and roll. There's a track called Alamosa, which has these soulful strings, and it almost sounds like the theme to a 70s cop show. And you listen to that song and you just think, you know, that's the last track on this record. This is a guy who's, you know, umpteen albums into his career, likes to release several albums a year. And you hear that song and you realize this. His song sound is still expanding. His sound is still evolving.

[Gordy]

Back in the Saddle Once Again by the Blue Roll, Henry and Dosa because my true love wanna hurt.

[DeShawn Nance]

And, you know, to that point, relatability is one thing that I really got out of this project. When I hear country music, I'm not listening for necessarily, you know, a specific sound or instrumentation. I'm listening for that. That relatability in subject matter. And I think that he delivered that very well.

[Stephen Thompson]

Yeah. And it really feels like the work of somebody who has lived in the world. And I think, you know, we were talking about that with Jid at the top of this episode. Like if you're going to write as many songs as Charlie Crockett writes and perform as many songs as Charlie Crockett performs, you want to have some life experiences that go along with that. And this is a guy who's, you know, busked on the subways in New York City. He's worked in LA bars, he's lived on the streets of Paris, he's worked on farms in California. So he's traveled the world. And those experiences are seeping into these songs. And I think that's part of what makes him as vital as he is.

[DeShawn Nance]

Yeah, I completely agree. It's one of those projects where, again, if you are not a country listener, you know, there are some pieces on here that will have you like, maybe I need to go back and do some research.

[Stephen Thompson]

We love to talk about gateways here. For sure, that is Charlie Crockett. His new album is called Dollar a Day. We've got one more record we want to talk about in depth, as well as a lightning round of some of our other favorite albums out out today, August 8th. But first, let's take a quick break.

[Amazon Pharmacy]

Support for this podcast and the following message come from Indeed. You just realized your business needed to hire someone yesterday. Indeed's sponsored jobs helps you stand out. According to Indeed data, sponsored jobs posted directly on indeed have 45% more applications than non sponsored jobs. Speed up your hiring right now with Indeed and get a $75 sponsored job credit to get your jobs more visibility@ Indeed.com songs, terms and conditions apply. Hiring Indeed is all you need.

[NPR Announcement]

This message comes from NPR sponsor Shopify. No idea where to sell? Shopify puts you in control of every sales channel. It is the commerce platform revolutionizing millions of businesses worldwide. Whether you're a garage entrepreneur or IPO ready, Shopify is the only tool you need to start, run and grow your business without the struggle. Once you've reached your audience, Shopify has the Internet's best converting checkout to help you turn them from browsers to buyers. Go to Shopify.com NPR to take your business to the next level today from.

[Stephen Thompson]

NPR Music, it's New Music Friday. I'm Stephen Thompson here with DeShawn Nance of the SIP in Jackson, Mississippi. Next up, new album from Gordy. It's called Like Plasticine.

[Amarae]

I'm in your backstage. I'm on your sideline. I'm looking your Way So won't you put me in your sight lines? I wanna know what I wanna hold right now? I wanna know what I wanna hurt. Don't you make me a peripheral? I want to be there in the middle? You need to give me something special, baby. I want to be there in the middle. I like your pur. Like your purple.

[Stephen Thompson]

Gordy is an artist named Sophie Peyton. She's a singer songwriter from Australia. She's also a doctor. She took a break from releasing new music during the pandemic to work as a doctor. And she may be the only person where I'd be like, you know, you need to get your priorities in order, because I just always want new music from Gordy. And this thing, this record is. I. I just love this album. It's so hauntingly beautiful and so catchy at the same time. And like several of the other records that we've talked about this week, it's rooted in her experiences. You know, there's a track on this album called PVC Divide, and it's about being a doctor. During COVID She said that she watched.

[Amarae]

Him die on Facetime. It all took about three days. No, they wouldn't let her keep the bed sheets folded Hospital corners like a leech to feed on Tenderness like a baby seated by right. Like a concrete backyard ca.

[DeShawn Nance]

This is my first time actually hearing of her. I was very pleased.

[Stephen Thompson]

I'm.

[DeShawn Nance]

I'm always nervous and excited when I get new artists. So in hearing Gordy and Mr. Crockett, I was very excited. This project is one of those things that if you can't relate from a personal place, she will allow you to relate from her perspective.

[Stephen Thompson]

Yeah. And these songs are coming from a number of wildly different sonic perspectives. There's a track called Alien Cowboy where the whole sound of the song is really strange and warped. And it's pretty, but in a disturbing way. Air melts in my pocket and then it sweeps into a track called Cutting Room Floor, which is just effervescently infectious. It's got this huge, spangly chorus, and it works brilliantly in either perspective, kind of in either mode.

[DeShawn Nance]

Yeah. That song specifically, also one of my favorite on that. On that project, I got a sense of angst and exhilaration at the same time. You know, this project was very fun to listen to.

[Stephen Thompson]

Yeah, She's a wonderful artist. She's been a favorite of mine for a long time. Go back and watch her tiny desk concert, too. And one theme that's come up with a lot of the records we're talking about this week is sometimes you really get a sense of who an artist is from the company they keep, you know, and just like all those amazing features on that JID record, you look at the collaborations on this Gordy record. There's a song called Lunch at Dune where she's working with this wonderful Irish singer named Soak. You know, this beautiful ethereal ballad. You know, two really inventive singers PVC defied, which I mentioned at the top of this segment has Aeneas Mitchell, you know, who wrote Hadestown and is a wonderful, a wonderful singer songwriter in her own right. That is Gordy. Her new album is called Like Plasticine. Highly, highly recommended. Deshawn. We could not get to every single record that we want to talk about that's out today, August 8th. So we want to do a quick lightning round of some of the other albums that we're excited about. You've got a couple that I'm excited about, but I'm going to kick us off by talking about Hayes Carl. He's a roots rock singer songwriter. He's been cranking out smart, funny, witty records that invite, I would say, kind of ballpark comparisons to all time greats like Lyle Lovett and Randy Newman. Hayes Carl's new record is full of rollicking and commentary packed songs about the state of humanity in the modern world. It's called We're Only Human.

[Gordy]

Whether you give up.

[Stephen Thompson]

Or you give.

[Gordy]

It your best test it's hard not to feel like you failing test.

[Stephen Thompson]

As.

[Gordy]

Tragedies happen mistakes will get made.

[DeShawn Nance]

We.

[Gordy]

Love and we cry we stumble and try to not feel so afraid.

[DeShawn Nance]

But.

[Gordy]

We'Re only.

[DeShawn Nance]

So big Frida's pressing Onward, a phenomenal project. You get that very heavy gospel influence with features like Tamar Braxton and Kate Michelle. It is one of those projects that you have to love it if you're going to love it. Big Freda's new album is called Pressing Onward.

[Jid]

Hey hey, hey, hey it's our revival get up, up up and bring your Bible Meet me now S R I V E R Life without faith you won't make it too far Open your eyes up and open your heart God made the galaxy and made you a star Bring your confessions, trade them for blessings Sometimes the word stop wasn't reset It's a revival can you believe?

[Stephen Thompson]

Get up, get up, get up Love Big Frida. The country singer Ashley Monroe wrote her new album in the aftermath of a successful battle with a rare form of cancer. So it makes sense that the record feels like a hard earned victory lap. It's an epic, sonically expansive 17 song collection with guest appearances from Britney Spencer, T Bone Burnett and Marty Stewart, among others. Ashley Munroe's new album is called Tennessee Lightning.

[DeShawn Nance]

Town.

[Charlie Crockett]

Full moon dead and died in a one horse town Nothing to do but turn up the base Nothing to do but spend the rest of the weekend wasting Baby, you're so rock and roll so rock and roll so rock and roll me.

[DeShawn Nance]

Bryson Tiller's new album, it's an upturn from what I have heard from him in the past. He has, you know, stepped up some production, got some cool features on there. It's one of those projects where he is leaning into the hip hop space, but he still wants you to know that at the core he is an R B singer. Bryson Tiller's new album is called the Vices.

[Stephen Thompson]

I'm on the edge Hanging on barely Just don't push me now Hanging on threads baby just let me drop don't.

[DeShawn Nance]

Cut me down I'm on the edge.

[Stephen Thompson]

Yeah I took and I fled the country now yeah we out in the.

[DeShawn Nance]

Country with it we out in Amsterdam we finna make way to Germany one time I heard they love A up.

[Stephen Thompson]

In the UK in London Baby G Finally, the Canadian singer songwriter Alexandra Levy records under the name Ada Lee. And she's so prolific she chose the 15 songs on her new third album from among more than 200 she'd written. She's also a visual artist who painted her own album cover and has been teaching college classes on songwriting, which she is certainly qualified to do. Her new album is clearly the work of a lively mind that's always forward thinking, but also richly aware of the folk music legacy that precedes her. Ada Leah's new album is called When I Paint My Masterpiece.

[Amarae]

Besides the White Waterfall.

[Stephen Thompson]

Now, Dashawn, you and I have listened to a lot of new music to get to this point. This is the part of the show where we like to look back, have each one of us pick one song that's our favorite song of everything we heard. What do you got?

[DeShawn Nance]

Ah, Stephen, it's a tough one. That's a very tough one. At the end of everything, I had to just have one. I probably picked Big Freeda's Never Forget it is everything you think that a gospel inspired bounce project sounds like. Again, very tough decision, but I think that that's my final answer.

[Jid]

Never ever ever ever ever forget huh? Never ever ever ever what he's done.

[Amarae]

For me.

[Jid]

Never never, never never never never never never never never never never never.

[Stephen Thompson]

Never this one was a really tough one for me too, because I could pull something from each and every one of these records and feel very comfortable. Man, I just love, I love Gordy and I'm, I just have been banging this Gordy drum for years and years now. Otis I know we have to talk about Gordy this week because of how I've been about her for so many years. I have to go with this song called Cutting Room Floor. It's just such a mile wide summer jam. I love the way her voice sounds. I love the way this song soars. And I just, I'm gonna come back to this one.

[Amarae]

Last night I woke up on the cutting room floor and I was thinking about the way we were before. There was a time when you were the last one out my door.

[Stephen Thompson]

But not anymore. And that is our show for this week. Thank you so much to Sean Nance for joining us from the SIP member station WJSU in Jacksonville, Mississippi.

[DeShawn Nance]

Thank you for having me.

[Stephen Thompson]

It has been a pleasure. If you enjoyed this week's show, we always appreciate a positive review on Apple or Spotify or whatever app you're listening to right now. This episode was produced by Noah Caldwell and edited by Otis Hart. The executive producer of NPR Music is Soraya Mohammad. We'll be back next week to discuss new music with Amelia Mason from Boston Public Radio station wbur. Until then, take a moment moment to be well. Take long breaks from the Internet and treat yourself to lots of great music.

[Amazon Pharmacy]

This message comes from NPR sponsor Shopify, the commerce platform behind millions of businesses around the world and 10% of all ecommerce in the US get started with your own design studio. Sign up for your $1 per month [e-mail] NPR this message comes from NPR sponsor Oracle. In business, they say you can have better, cheaper or faster, but you only get to pick two. What if you could have all three at the same time? Oracle Cloud Infrastructure is the blazing fast platform for your infrastructure, database application development and AI needs. With oci, you can run any workload in a high availability, consistently high performance environment and spend less than you would with other clouds. To try OCI for free with zero commitment, go to oracle.com NPR this message comes from NPR sponsor Capella University. Interested in a quality online education? Capella is accredited by the Higher Learning Commission. A different future is closer than you think with Capella University. Learn more at Capella. Eduardo.