New Music Friday: The best albums out July 18

Summary

All Songs Considered - NPR Podcast Summary Episode: New Music Friday: The Best Albums Out July 18
Release Date: July 18, 2025
Hosts: Stephen Thompson and Chelsea O

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Introduction

In this vibrant episode of All Songs Considered, NPR's flagship music discovery program, host Stephen Thompson welcomes Chelsea O from BTPM's The Bridge in Buffalo, New York. The duo delves into the freshest releases of the week, spotlighting a diverse array of artists and albums poised to make significant impressions in the music landscape.

Sly and the Family Stone: "First Family Live at Winchester Cathedral, 1967"

The episode kicks off with a nostalgic nod to Sly and the Family Stone, celebrating the release of their newly unveiled live album, "First Family Live at Winchester Cathedral, 1967." Stephen highlights the significance of this release, especially poignant given the recent passing of Sly Stone in June.

Stephen Thompson [00:39]: "If I'm not mistaken, the sounds you are hearing behind us... is I Can't Turn You Loose. If you, like many of us, are still mourning the death of Sly Stone, this is a lovely way to revisit a band kind of coming into its prime."

Chelsea O underscores the historical value of the recording, noting its status as the group's earliest live performance.

Chelsea O [01:20]: "This is the earliest live recording of the group... there's still a ton of great Sly and the Family Stone music out there in the archives waiting to be unearthed."

Alex G: "Headlight"

Transitioning to contemporary indie music, the discussion shifts to Alex G and his new album, "Headlight." Stephen praises Alex G's evolution from bedroom recordings to more polished studio productions.

Stephen Thompson [04:47]: "It's really impressive listening to this record, how much it still sounds like him, while still sounding more assured and polished."

Chelsea O shares her admiration for the album's dynamic tightness and Alex G's unique sound that balances familiarity with subtle nuances.

Chelsea O [02:09]: "I loved every single one of these albums... there's enough familiarity there where it draws even in a casual listener. But just the very small details that he has in the songs, I think, are what make it specific to Alex."

Notable tracks like "Afterlife" and "Far and Wide" are highlighted for their catchy hooks and emotional depth.

Alex G [03:00]: "I swung so freely I felt my gravity... Swinging along."

Jim Legacy: "Black British Music 2025"

Next, the spotlight shines on Jim Legacy and his mixtape, "Black British Music 2025." Stephen introduces Jim as a resilient artist who has navigated personal struggles, including homelessness, to carve out a niche in the British music scene.

Stephen Thompson [09:07]: "Jim Legacy has been putting out records, singles, EPs, mixtapes... even as he's experienced homelessness and struggled to build a career around his music."

Chelsea O praises the mixtape's brevity and emotional integrity, drawing parallels to pop-punk's concise and impactful style.

Chelsea O [10:34]: "There's 15 songs on this mixtape... that reminds me of that stereotypical pop punk ethos of short, fast, and loud. But I feel like even though there's brevity, it doesn't lose any of the emotional integrity."

Themes of personal turmoil and resilience are prevalent, with tracks like "Issues of Trust" showcasing a blend of hip-hop, drill, and indie pop elements.

Stephen Thompson [12:34]: "There are themes of optimism and hope, aggression and darkness, playfulness and tenderness."

Zack Farrow: "Operator"

The conversation then turns to Zack Farrow, formerly known as Half Noise, and his debut solo album, "Operator." Chelsea O reflects on the challenge of separating Farrow's solo work from his contributions to Paramore, highlighting the album's personal and introspective nature.

Chelsea O [19:15]: "It's really difficult for me to listen to Zack Farrow and not relate it back to Paramore... it's so evident to me how much he's influenced their sound since he rejoined the band in 2018 for their album After Laughter."

Stephen describes the album as a mellow, playful, and soulful pop-rock collection with a touch of psychedelia, emphasizing its seamless blend of genres.

Stephen Thompson [19:45]: "It's such an easy listen, but it has, like, such a mellow, approachable quality and there's no fat on it."

Lord Huron: "The Cosmic Selector, Volume 1"

Lord Huron is featured next with their highly anticipated album, "The Cosmic Selector, Volume 1." Stephen reminisces about their rise to prominence, particularly with the viral success of "The Night We Met."

Stephen Thompson [25:04]: "I knew that they had experienced this huge blowup because their song The Night We Met was placed really memorably on the TV show 13 Reasons Why."

Chelsea O praises the album's storytelling and cinematic quality, noting its ability to create immersive narratives without a linear storyline.

Chelsea O [26:24]: "These tracks... don't necessarily tell you a linear story, but they immerse you, and you are right away."

A standout track, "Who Laughs Last", features Kristen Stewart in a spoken word performance, adding a bold and theatrical layer to the album.

Stephen Thompson [29:24]: "How bold is that to have as your single? The first voice you hear on the first single from their new record belongs to Kristen Stewart instead of your lead singer."

Disney Blood: "Disney Blood"

The episode continues with a deep dive into Disney Blood's self-titled album, pronounced "Disson Blood." Chelsea O and Stephen Thompson express their awe at the album's complexity and intricate instrumentals, describing it as a "wordless conversation."

Chelsea O [35:22]: "There's so much going on in this record... I had to go back and listen with headphones."

The duo highlights the collaborative nature of the album, featuring numerous guest vocalists like Juliana Barwick and Cassandra Croft, whose contributions add ethereal and haunting dimensions to the music.

Chelsea O [41:22]: "All of the guest vocalists on this record... act as more of a layer rather than a focal point."

Themes of impermanence and present-moment awareness permeate the album, resonating deeply with listeners grappling with anxiety.

Stephen Thompson [42:32]: "As somebody who is constantly in the grips of an anxious spiral, I appreciated this record a lot."

Lightning Round: Additional Releases

To round out the episode, Stephen and Chelsea engage in a lightning round, briefly discussing additional notable releases:

• Cam's "All Things Light": A genre-agnostic collection reflecting on motherhood and global changes during the Pandemic.

  Stephen Thompson [44:27]: "Cam's new album is called All Things Light."

• 4th Wanderers' "Longer This Goes On": A return from hiatus with a blend of pop jangle and confessional lyrics about anxiety.

  Chelsea O [44:53]: "They tried experimenting in the spirit of country and blues... making it a really great summer record."

• Jess Ribeiro's "Mixtape": A nostalgic compilation with a multi-decade sound palette.

  Stephen Thompson [46:18]: "Jess Ribeiro's new record is called Mixtape."

• Billie Martin's "Dog Eared": A mature and textured debut that showcases growth and distinctive vocals.

  Chelsea O [47:02]: "That's Billie Martin's album Dog Eared out today."

• 2 Shell's "Icons": A UK duo's foray into dark, hypnotic club music with a mysterious edge.

  Stephen Thompson [48:04]: "2 Shell's new album is called Icons, spelled with two I's."

Favorites and Closing Thoughts

In their final segment, both hosts share their favorite tracks from the week:

Chelsea O [49:04]: "I really just love Afterlife by Alex G. It's so beautiful and evokes my own memories."

Stephen Thompson [49:28]: "The song that is still just kind of ringing and radiating in my head... is Blue Rag's Raging Wind from Disney Blood."

Conclusion

Stephen and Chelsea wrap up the episode by expressing gratitude for Chelsea's insights and participation. They encourage listeners to explore the discussed albums and share their experiences.

Stephen Thompson [50:06]: "That is our show for this week. Thank you so much, Chelsea O., for taking time out of your week at the Bridge in Buffalo."

The episode concludes with a teaser for the next week's discussion on Tyler Childers' new album.

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Note: This summary captures the essence of the podcast episode, focusing on the critical discussions, insightful comments, and memorable quotes while omitting advertisements and non-content segments.

Transcript

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[Chelsea O]

Note before the show.

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This podcast contains explicit language.

[Stephen Thompson]

Happy Friday, everyone, from NPR Music. It's New Music Friday. Hi, I'm Stephen Thompson here with Chelsea O from BTPM's the Bridge in Buffalo, New York. Hey, Chelsea.

[Chelsea O]

Hey, Stephen. Thanks for having me.

[Stephen Thompson]

It is a pleasure to have you join us for the very first time. If I'm not mistaken, you are correct. The sounds you are hearing behind us, the music you are hearing behind us is Sly and the Family Stone from a new live album they have out today called the First Family Live at Winchester Cathedral, 1967. The track is I Can't Turn youn Loose. If you, like, many of us are still mourning the death of Sly Stone back in June. This is a lovely way to revisit a band kind of coming into its prime.

[Chelsea O]

So as I understood it, this is the earliest live recording of the group.

[Stephen Thompson]

What a remarkable artifact to have. And while that it hasn't kind of existed in the world until now, it feels like there's still a ton of great Sly and the Family Stone music out there in the archives waiting to.

[Chelsea O]

Be unearthed for sure. And I think what struck me with listening to the song in particular was just how, like, tight they are dynamically. It's insane.

[Stephen Thompson]

It's out today, so you probably haven't heard it already. We highly recommend that you dig in. We've got a ton of great records we're gonna talk about today, new albums from people like Alex G, Jim Legacy, Lord Huron, and so much more.

[Chelsea O]

I actually, I loved every single one of these albums.

[Stephen Thompson]

First up on the show, though, we've got the new album from Alex G. Alex G's new album is called Headlight.

[Alex G]

I went out looking for a real thing. Didn't notice it was hanging by the door. Didn't leave a message or anything. Yeah, she doesn't want to wait for me no more walking in the city with a real thing. No one tells you what what the real thing is for making up a story.

[Chelsea O]

Alex G is the moniker of Alex Gianna Scoli, a singer, songwriter and producer from Philadelphia. He rose to indie popularity in the 2010s because of recordings he made in his bedroom. His label debut was DSU or Dream State University. That came out in 2014, but it wasn't until his eighth studio album which was called House of Sugar in 2019. That's a personal favorite of mine that he began working in studios outside of his home. In the years since, he's experimented with movie scores, including We're All Gone to the World's Fair and I Saw the TV Glow. And he also released his album God Save the animals, back in 2022.

[Stephen Thompson]

Yeah, and, you know, he's a standard bearer for a certain style of kind of indie pop music. And, like, almost has this kind of slack quality, but there's also. There are these deep, deep hooks. And so, you know, when he broke through with that album, you mentioned God Save the Animals, there was this song called Runner. Yeah, it's a bedroom pop song, but it's also just a pop song, and it gets stuck in your head the way that a pop song does. And, you know, now he's got this record. This is his first album on a major label, which is not the kind of milestone that I usually even bother to acknowledge. I don't think most people actually care about record labels, but it is interesting. Like, as he's moved through his career, this is his 10th album, he's kind of making this transition into doing these things primarily in studios for the first time. And to me, it's really impressive listening to this record, how much it still sounds like him, while still sounding more assured and polished and taking advantage of some of the benefits of working in a studio.

[Alex G]

I swung so freely I felt my gravity Felt you down there Swinging along.

[Chelsea O]

With me My introduction to him was actually his album Rockit, the variation of the songs, because you had tracks that were very electronic and synth and then other ones that were very much kind of more singer, songwriter, like Bobby. It felt erratic to me at first, but the more I became familiar with his work, the more I was like, I actually very much appreciate this approach by combining a lot of those very familiar elements. He then adds these subtle nuances of things that are unfamiliar. And that's what makes his sound so unique. It's like, there's enough familiarity there where it draws even in a casual listener. But just the very small details that he has in the songs, I think, are what make it specific to Alex.

[Stephen Thompson]

G. He recorded his first bunch of records under the name Sandy, Alex G, which was probably the first time that I was at least familiar with his name. And it wasn't until more recently that I started really seeking out his records. You listen to a song like Afterlife that has the kind of laid back, mumbly qualities, but that's combined with kind of this bright, chiming hookiness. And like he's got Max Weinberg on drums.

[Alex G]

Grass feet and 17 make it like a dream, she said we were clean like kerosene candy and ornament.

[Chelsea O]

With Afterlife. I actually watched the music video, Stephen. Have you seen it yet?

[Stephen Thompson]

I have not.

[Chelsea O]

It features a child who is being dragged by a microphone cable across a rural town. It starts in a square dance, then they go through fields, a barbecue. And why I'm bringing it up is because I saw a commenter on the video say this song sounds like how A Memory of Summer feels. How does he do that? And I think that's something that Alex G is very good at. He's really great at evoking memories. Not. It's like he knows the listener's memories somehow, and you're able to feel that in his music. I've searched far and Wide, that nasal quality to his voice, and it makes me think of the track Far and Wide. And I noticed that on this record that from song to song, he doesn't necessarily always sound the exact same. It's like he's less concerned with singing like Alex G and just more concerned with portraying whatever it is the song calls for.

[Stephen Thompson]

Yeah. That gives him kind of this ability to assume other identities that really allow for kind of a versatile sound and a versatile storytelling voice. I'm glad you mentioned the song Far and Wide, which feels in many ways like a bedroom pop song, but also just feels immaculately orchestrated.

[Alex G]

Here at last where headlights of cars drift like falling stars and I'm all in pieces well, I'm all in pieces.

[Stephen Thompson]

I just really appreciate how many different approaches he's able to kind of incorporate as he goes along. I think it's a very well paced record.

[Alex G]

Little things that make me think of what we had together.

[Stephen Thompson]

That is Headlights. It is the new album from Alex G. Next up, Jim Legacy has a new record called Black British Music 2020.

[Alex G]

Yeah, me and my ones in the ends, yeah Said I change it depends you said I couldn't pretend Told me that I couldn't fit in your lifestyle Damn bite swagger. Then they wonder why you never stick Sticks, sticks, sticks, sticks, sticks, sticks so this when I was a jit I got evicted in shit I was around with the thugs out giving drugs out for the veins I had to toss in the rain yeah.

[Stephen Thompson]

So Jim Legacy is, as the. As the title suggests, a black British musician. And he's, you know, been putting out records, singles, EPs, mixtapes and stuff since about 2018. And in that time, he's grown slowly in popularity and kind of picked up more and more co signs and collaborators from across the British music industry, even as he's experienced homelessness and struggled kind of coming up and building a career around his music.

[Alex G]

Said, I'm never going back I'm on the phone with a bad one I don't need her but I need her Rain came out to leave her yeah, yeah Rain came and I crashed out it's interesting.

[Stephen Thompson]

He bills Black British Music 2025 as a mixtape, not an album. This feels like a mixtape. It sometimes even feels like flipping stations on a radio dial just because there's so many ideas and thoughts and even little bits of spoken word kind of percolating throughout.

[Alex G]

Yeah, go wanna yeah do you want to be big time forward?

[Chelsea O]

There's 15 songs on this mixtape, which I find that number deceiving. Most of these reside between the minute and a half to two minutes in length. I think the whole thing times out at around, like, 35 minutes. And that, to me, reminds me of that stereotypical pop punk ethos of short, fast, and loud. But I feel like even though there's brevity, it doesn't lose any of the emotional integrity.

[Alex G]

I feel like. I feel like when most people go through shit anyways, they're not even, like.

[Chelsea O]

From the very first track we hear straight from the artist. Kind of why he's even putting out this release. That's just what I was doing, man. There was the death of his sister. His mother maybe had a stroke. There was psychosis, and he was trying to avoid all these things and distract himself. And he acknowledges that as humans, we want to distract. We don't want to face things head on. But ultimately, he comes to recognize there's always going to be mud, I believe is what he says to get through.

[Alex G]

I felt like I just turned my.

[Stephen Thompson]

Life around from being homeless to doing the mixtape and then doing Sprinter. Like, I actually felt like rot.

[Alex G]

My life was going in such a.

[Stephen Thompson]

Sick direction and that.

[Chelsea O]

And I.

[Stephen Thompson]

And I.

[Alex G]

And I got out of the mud. But, you know, you get out of.

[Stephen Thompson]

Mud and there's always gonna be. There's always gonna.

[Alex G]

There's always gonna be mud.

[Chelsea O]

Even though there's a lot of really catchy pop hooks throughout this entire piece, there's so much going on beneath the surface that is way deeper than just a song getting stuck in your head.

[Stephen Thompson]

Make no mistake, these songs do get stuck in your head. But, like, stylistically and thematically, there is so much variation on this record.

[Alex G]

I May Fall and My Heart's filled with issues of trust when my die.

[Stephen Thompson]

Tones of optimism and hope. Themes of aggression and darkness. There's playfulness and tenderness, hip hop and drill and indie pop and dancehall and afrobeat. There's a track called Issues of Trust that has this kind of singer, songwriterly sensitivity to it. His toolkit incorporates so many different sounds.

[Alex G]

Since you left our lives and blaming my myself for all the things I said and I never said Though I tried I felt right.

[Chelsea O]

Yeah One of my favorites was new David Bowie. I really liked the layered vocals, the driving kind of garage rock beat. There's a twinkling synth going on and then there's this little guitar lick that comes in at the end. He kept using the term DD and I didn't know what that meant and now I know it means do not disturb. So I felt officially old after listening to that. But I just loved that track. And I listened to this record a couple of times while I was taking a walk and it put a bounce in my step.

[Alex G]

Man, I had to put my phone on DND DND she want me I.

[Stephen Thompson]

Can'T put my heart on There's a track called SOS that has this slinky, almost kind of tropicalia vibes. But then you've got a song 06 Wayne Rooney where hip hop is kind of swirled together with spiky pop rock. He's just very genre fluent and kind of genre agnostic at the same time.

[Chelsea O]

06 Wayne Rooney kind of reminded me of Youngblood, Willow Juice, WRLD, Machine Gun Kelly. Even so, he mentions Andre 3000 earlier in the mixtape. And then in this song he was saying, hey ya, hey ya, hey. I was not sure if I was crazy in thinking that that was a reference to the love below. I don't know if you thought that or if that's just me.

[Stephen Thompson]

Wayne Rooney, who that song is named after, is a famous soccer player, you know, so he's just like weaving in references to musicians who've inspired him. Sports figures.

[Chelsea O]

I also feel like the track sun both of those songs in particular remind me of something I could have seen on MTV back in 2003. But he's bringing this very nostalgic feel into the present and it doesn't feel dated.

[Alex G]

Plus one. You want to have fun?

[Stephen Thompson]

Then let's get that's Jim Legacy. His new mixtape is called Black British Music 2025. We've got some more records we want to talk to out today, July 18th. But first, let's take a quick break.

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[Stephen Thompson]

From NPR Music, It's New Music Friday. I'm Stephen Thompson here with Chelsea oh from BTPM's the Bridge in Buffalo, New York. Chelsea tell me about the station.

[Chelsea O]

So my favorite thing about the Station is that the Bridge really tries to integrate into our regional community. We were recently both at the Buffalo and Toronto Pride Parades. We host monthly events at local establishments, some of which are music meetings where we invite listeners to come and chat with us about what they like about the station, you know, what songs they're listening to that they're hoping that we'll play. And then we're also working more to showcase opportunities for regional artists. So you'll hear artists from Buffalo and Toronto on more than just one day.

[Stephen Thompson]

It's like you're showcasing local music from both cities.

[Chelsea O]

My show is called the Scene. It airs Sunday mornings from 10 to 11am we play all artists currently based in western New York and Southern Ontario. I myself have been part of the western New York music scene for over a decade with my project Stress Doll. I love our local arts scene. We have such an amazing arts community here in Buffalo. And then it's been really cool to be introduced to the arts community in Southern Ontario.

[Stephen Thompson]

Next up, we've got a new album from Zack Farrow, probably best known for his work in Paramore, his new solo Album is called Operator.

[Chelsea O]

This is Zach Farrow's first album under his own name after years of working under the moniker Half Noise. He's also obviously the drummer of the band Paramore. He says that this record is his most personal and that it's an inner dialogue with myself, within myself. And so it felt right to cut out the middleman and go with this is Zack Farrow.

[Alex G]

Finally got the message you've been trying to send me.

[Chelsea O]

It's really difficult for me to listen to Zack Farrow and not relate it back to Paramore, especially listening to this album. It's so evident to me how much he's influenced their sound since he rejoined the band in 2018 for their album After Laughter.

[Stephen Thompson]

Yeah, it's so interesting when you hear a solo record from a member of a band who is not the front person, to get a sense of, like you said, what they contribute to the band, what is their vibe, what kind of music would they be making if given the choice? Or, like, is this some kind of genre exploration where they're just musical polymaths and want to try a lot of different things? If you want a sense of the vibe of this record, I mean, it's really evident right away. It's this kind of mellow, playful, soulful pop rock. A little bit of a psychedelic quality to it, which, you know, kind of taps into a lot of the stuff that he was doing with Half Noise. It's such an easy listen, but it has, like such a mellow, approachable quality and there's no fat on it. It's nine songs in 25 minutes.

[Alex G]

I got the Operator.

[Chelsea O]

It's very 1970s. It's retro in every aspect, even down to the title of the record and the title track, Operator. I mean, I don't even know if people growing up today would know what it is to call somebody and get an operator.

[Alex G]

Sorry, baby, for the things I say.

[Chelsea O]

He actually also collaborated, primarily with two good friends out of Nashville, Matt Chancey and Josh Gilligan. And I felt like reading the credits. They did contribute quite a bit to the overall sound.

[Stephen Thompson]

It's a very layered, fleshed out, full blooded sound. I mean, there's a song called Second Chance. I felt the influence of, like, Steely D. If you're gonna kind of tap into a Steely Dan sound, you're making music that is extremely precise, Lots of layered harmonies, where, you know, the studio is just giving you something that is really sonically rich. And he's able to tap into that in part because of these great collaborators. There's a song called One where it's kind of this, like, cosmic spacey soul. It feels like a throwback without feeling, like a museum piece, if that makes sense.

[Chelsea O]

Simple actions remind me a lot of the Bee Gees with that little Let it go, Let it go falsetto. To me, the entire record is built for a serene coastal drive. I imagine myself on the Pacific coast highway, windows down, hair flowing. It's a really pleasant listen. And in that vein, there's actually a song called Sunday Driving.

[Stephen Thompson]

Absolutely. Very mellow song. There's a song called My My that feels like the cosmic folk of the. Of the seventies. You know, it's. It's so sweet. It's so agreeable.

[Chelsea O]

That one kind of reminded me of the Grateful Dead a little bit. And.

[Stephen Thompson]

Sure.

[Chelsea O]

Are you familiar with the show Freaks and Geeks? I felt like I was Lindsey Weir, like, twirling in my bedroom, listening to American Beauty for the first time.

[Stephen Thompson]

Having your mind blown?

[Chelsea O]

Having my mind. Exactly. Mind blown. But I really enjoyed this record a lot.

[Alex G]

Only two and you are able. Oh, my. My mind.

[Stephen Thompson]

That's Zack Farrow. His new album is called Operator. Next up, Lord Huron is back with a new album. It's called the Cosmic Selector, Volume 1.

[Alex G]

I fell asleep and when I woke up I was old I said goodbye to my youth and my blood ran cold I got a feeling I just had to get away I left it all behind on an endless road But I see her face everywhere I go I got everything I want and I got nothing that I.

[Stephen Thompson]

So Lord Huron has been floating around for about 15 years. They've been putting out albums and EPs that have kind of subtle vibes, but those subtle vibes don't preclude them playing huge theaters and even stadiums. I knew that they had experienced this huge blowup because their song the Night We Met was placed really memorably on the TV show 13 Reasons why I didn't realize that it is one of Spotify's most streamed songs of all time. That song has been streamed on Spotify more than 3 billion times.

[Alex G]

I don't know what I'm supposed to do. Haunted by the Ghost.

[Stephen Thompson]

I don't think of them necessarily as, like, purveyors of big mainstream pop music. Their songs have a kind of unsettling, swirly, like, really beautiful, rambling quality to it that doesn't necessarily lend itself to monoculture. And yet here we are. They're back with their new album. It's their fifth, and it's just lovely.

[Chelsea O]

I was gonna say one of the few Bands making money off streaming streamed 3 billion times.

[Stephen Thompson]

Anyone can do that, right?

[Alex G]

I don't want nothing but alone Some quiet place where I can think Spend my whole life looking back and wondering who I was.

[Chelsea O]

This band has always had a storytelling, theatrical flair. They've released music videos in the past that have sort of a storytelling nature with a 70s Western style. This album as well, very much an American sound. That western cowboy drama feel throughout.

[Stephen Thompson]

Oh, absolutely.

[Chelsea O]

These tracks, in my opinion, they don't necessarily tell you a linear story, but they immerse you, and you are right away. Even if the lyrics aren't describing a desolate desert or ghost towns, you see that through the music.

[Alex G]

Place where I can dream.

[Stephen Thompson]

I'm glad you mentioned their videos because it's very hard to talk about Lord. Lord Huron's music without using the word cinematic. So much of their music is kind of written for visuals, and it sort of makes sense that they experienced this massive, massive breakthrough. This album, The Cosmic Selector, Volume 1, kicks off with a song called Looking Back Something. And my immediate thought, hearing this song was like, you could play this song on a Halloween playlist and it would really work. It's not monster mash, but it is evoking a lot of this darkness, and it's just extremely evocative. And so right off the bat, you're immediately plunged into a very specific mood, and I just love that.

[Alex G]

Yeah.

[Chelsea O]

Yeah. Very eerie. And I feel like the first four tracks on the record, they sort of wash over the listener and they're very atmospheric. But the one that takes the reins is who Laughs Last With Kristen Stewart. I was about to say, and what better for a theatrical band than to enlist the help of an actor? So Kristen Stewart doing a spoken word vocal on this.

[Alex G]

After three hours at the wheel, I found myself beyond the borders of my experience. From there, it was one alien world after another. Ghost towns, painted deserts, hamburger sands, neon temples, canyons carved by patient rivers, Craters gouged by giant hunks of rock flung from who knows where. The headlights quit some room.

[Chelsea O]

This track I just wanted to listen to again and again. The guitar line, a driving, really dirty bass. And then Kristen's vocal come in, which is unexpected when you don't know that that's what's going to happen.

[Stephen Thompson]

Right? Like, how bold is that to have as your single? The first voice you hear on the first single from their new record belongs to Kristen Stewart instead of your lead singer.

[Chelsea O]

It was a very bold choice. I kind of assumed Steven, from this part of the album that Stewart is playing the part of the lost love that the narrator has been telling us about for the first four songs. Did you feel that way?

[Stephen Thompson]

I hadn't even thought about it that way. But this is definitely a band that thinks about narrative. So it would make perfect sense for the songs on this record to be in conversation with each other because of just how deliberate this band and its leader, Ben Schneider, have always been.

[Chelsea O]

Yeah, I felt like we were finally getting the counterpoint of view to the one that we've heard so far on the record. I know that earlier in the album we have the narrator talking about some sort of heist that took place. Someone got away. He did not. He was left behind. And so I kind of assumed that this track is the other person who got away with it. And she's driving like hell through ghost towns and deserts, you know, evading her captors, but we're not really sure to what end.

[Alex G]

But you remember what I did.

[Stephen Thompson]

There is this wandering kind of searching quality that comes up again. It's a track called Is There Anybody Out There? It's a searching song befitting the title.

[Alex G]

I've been looking a long time what's your name? Am I ever gonna find you? Am I reading the wrong rhymes? Are you too far to hear? I've been talking a long time Hope my message will find in you.

[Stephen Thompson]

There's a track called Bag of Bones, you know, that has this southwestern vibe. It feels very open and ethereal, like almost like the music is kind of shimmering off of hot concrete.

[Alex G]

This is how my tale begins. I was outside looking in again Nothing like rain, the wash or clean so I slipped in the cold and left.

[Chelsea O]

Unseen I'd be remiss not to mention that both Nothing I Need and Watch Me Go in particular give me major Tom Petty and Traveling Wilbury vibes. It's in the way that he phrases in Watch Me Go. He says the words just go and slow sound so Petty esque to me. Like very Wildflowers era. Tom Petty.

[Alex G]

You got a lot to tell me But I'd rather not know and I was glad to see you but it's better I go.

[Stephen Thompson]

And Petty's great gift was a kind of plain spokenness. Tom Petty didn't. Didn't waste a lot of syllables. And that influence definitely feels like it's coming through here as well.

[Alex G]

Cause I see what I'm becoming yeah, I wanna ride with the wind I don't wanna die slow he didn't. You can watch me go hey, you can watch me go.

[Stephen Thompson]

That is Lord Huron, their terrific new record is called The Cosmic Selector, Volume 1. We've got one more record we want to talk about in depth that's out today, July 18, as well as a lightning round of some of our other favorite new albums. But first, let's take one more quick break.

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[Stephen Thompson]

From NPR Music. It's Stephen Thompson here with Chelsea oh from BTPM's the Bridge in Buffalo, New York. We got one more record we want to talk about in depth. It's by a band called Disney Blood, spelled D I S I N I B L U D so as to not get in trouble with lawyers. Their new album is called Disney Blood.

[Chelsea O]

Is it Disney Blood? I thought it was.

[Stephen Thompson]

That's how they pronounce it. It looks like Disney Blood.

[Chelsea O]

I thought it was like Disson Blood. Okay.

[Alex G]

Disney Blue.

[Chelsea O]

Disney Blood is a duo comprised of composers, composers Nina Keith and Rashika Nair. Keith is a Los Angeles based composer who is self trained. Her 2019 debut features her playing piano, clarinet, cello and flute and explores a personal history marked by community tragedy and paranormal incidents. Nair hit the scene in 2022 with her breakout album Heaven Came Crashing. That album received props from Pitchfork, the New York Times, Stereogum Fader, gq, Bandcamp, pretty much everyone under the sun. It also got her an opening slot with M83. So Disney blood, they say that they're a wordless conversation. I thought that that was really cool. There's so much going on in this record, Steven, like so many intricacies. When I first started listening to it, I was listening in my car and almost immediately I stopped it because I felt like I was missing so many of the nuances happening within the instrumentals. Like I had to go back and listen with headphones.

[Stephen Thompson]

I didn't listen to my car, but I had the exact same experience. I listened to two songs and then Was like, I'm gonna come back later and listen to this more closely. Like started over from the beginning, as you said, is so much going on. One word that I used in my notes again and again, busy. And I mean it in a very, very positive way. It's not overly cluttered. There's just a ton going on. Their sound combined almost takes on the feel of like steampunk, you know, where it feels like you're hearing the sound of like a mechanical organism as it's kind of whirring and clattering and shuffling together. A ton of different sounds at once.

[Chelsea O]

I loved the overall theme of the album. Song titles like Give upping and It's Change sort of hint at it. But I feel like this entire record begs the question, why is it so hard for us to release and be present and to just try to let go and exist? For some reason, I think that's so difficult for us as people, especially in this modern era when there are so many distractions Disney Blood is trying to get across. If you were to just let go of expectation, Life takes the reins and can take you places that you wouldn't expect.

[Stephen Thompson]

There's a track on this album called Blue Rag's Raging Wind. Beautiful song, bringing in these gorgeous piano lines. And at times it's really bringing to mind for me the sounds of Secret Rose and Yonsi's solo work. It has this kind of tootling, like little playful, sweet, little whistly effects to it. And I was reading about, about the song and kind of what they intended with it and they were saying it's designed to channel the inner life of a three year old. And I just think that's such an interesting way to kind of make music. Even those of us who are around small children, it can be difficult to kind of imagine what that should sound like. But damned if it doesn't have this childlike, playful, kind of exploratory quality to it.

[Chelsea O]

All of the guest vocalists on this record, of which there are several. But what I thought was really cool is that the vocalists act as more of a layer rather than a focal point. I'd say the one track where that's an exception is Serpentine featuring Cassandra Croft. Her voice in this is so gorgeous. She really gives this ethereal, haunting delivery. The lyrics and the voice really bring the imagery to the track. Whereas so many of the other songs, I felt like the instrumentals were the star front and center, and that's what's really making your mind go. But in Serpentine, I felt like Cassandra's vocal was so beautiful and fun. Fact. I found out her father happens to be Elwood Woody Norris, the inventor of hypersonic sound. What?

[Stephen Thompson]

No idea.

[Chelsea O]

I know the things you learn on the Internet.

[Stephen Thompson]

Some of these voices are just so welcome. I have been a Juliana Barwick fan for 10 or 15 years now. I still often put her records on when I'm looking to kind of drift off or concentrate or if I'm on a long drive. She has this beautiful voice that she uses in really enveloping and just gorgeous ways. And she pops up a couple times on this record. She pops up in the opening track Give Upping and she turns up again in the song It's Change, which you kind of referenced. And there are three different people who kind of pop up in that song. And that song is sort of intended to sort of celebrate the idea of impermanence, that our lives are constantly kind of turning over and we're never kind of experiencing the same moment twice. And that's something that can be cause for celebration more than mourning.

[Chelsea O]

That song also features Katy Day and her vocal in particular reminded me kind of Imogen Heap. That was sort of the voice near the end she said the following lyrics if I could learn to add it up before it even starts, what could we become today? Not falling apart. And that to me kind of spoke of seeing a pattern before takes place. Maybe an anxious spiral which I I can relate to. I get myself an anxious spirals a lot. That's why the this album really spoke to me. I feel like just the message is so simple and lovely and yet for some reason so hard to obtain. But perhaps this record helps us to stay in the present.

[Stephen Thompson]

As somebody who is constantly in the grips of an anxious spiral, I appreciated this record a lot. That is Disney Blood. The self titled album spelled D I S I N I B L U D. You would never guess that it is pronounced Disney Bl Chelsea we could not possibly get to every single album today, July 18th. We had to kill a lot of darlings to get to this point. I mean we didn't even get to Laura Jane Grace. But we did want to do a lightning round to kind of celebrate some of those albums. I'm going to kick us off with the country singer and occasional Beyonce collaborator Cam. She's back with her first album in five years. Thoughtful, poppy, folky, kind of genre agnostic set of songs about, as she says, embracing the abyss. Cam became a mother in the early days of the Pandemic. Her songs are informed by big changes in her life and in the world. It's a charming cocktail of reflection and joy. Cam's new album is called called All Things Light.

[Chelsea O]

I chose fourth Wanderers the Longer this Goes on, which is out on sub pop today. 4th Wanderers originated in Montclair, New Jersey and after years of DIY EPs and touring, the band signed a sub pop in 2018 originally release their self titled debut. However, after the album's release vocalist Ava Trilling had to call off their touring plans due to a panic disorder and that disruption caused the group to disband. It looked like they were never going to come back and release new music, but happily that assumption was wrong. The band is saying this is not an official comeback. They're still trying to figure out who they are and what they're doing, but I think that this is a really fun record from start to finish. They said that they tried experimenting in the spirit of country and blues, but when I listen to this album I hear a lot of pop jangle and droney and I realize this term gets overused but 90s alternative and lots of confessional lyrical themes in here about anxiety and romantic ennui. But at the end of the day the instrumentals have a really kind of bright sunshiny quality and I think it makes it a really great summer record.

[Stephen Thompson]

Jess Ribeiro is a singer songwriter whose songs have a quality that's not so much timeless as seeming to emanate from about five different decades at once. She put out a gorgeous record last year called Summer of Love and now she's back with a collection of odds and ends and B sides, including a reworking of Summer of Love's title track that sets the song squarely in the 80s in the best possible way. That's not always a good thing. It's a good thing here. Jess Ribeiro's new record is called Mixtape.

[Chelsea O]

Billie Martin is a singer songwriter who rose to fame at the tender age of 12 by posting covers on YouTube that garnered thousands of views. She released her first EP at 15, her second at 16, and since then she's put out four albums. So I think it's understandable and expected that when an artist starts off their career that young, it's difficult to emerge fully formed with your own voice and sound. But but in my opinion, her release that came out today, Dog Eared, kind of feels like her true debut. I feel like her voice is at its most mature and distinctive and there's also a comfortability and growth in her writing and performance. I really enjoy this album. I love her crooning vocals I love the rich and textured musicianship. It makes it a really smooth listen from start to finish. And that's Billy Martin's album Dog Eared out today.

[Stephen Thompson]

The London duo 2 Shell is a mysterious shapeshifter. Its members are masked and anonymous while their songs feel warped and strange, taking UK club music, smashing it into fragments, and then reassembling those shards into something dark and hypnotic. You'll hear doomy atmospherics, hyper pop and everything in between. It's danceable and deeply weird, which is always an Excellent combination. 2 Shell's new album is called Icons, spelled with two I's. Now, Chelsea, you and I have listened to a lot of music. What is one song that you are happiest to take away from this experience?

[Chelsea O]

I thought about this a lot, Steven, and I felt like, oh, if I were really cool, I'd choose something very obscure. But I'm not that cool. So I'm gonna say I really just love Afterlife by Alex G. I realize it's just something about it is so beautiful and like we were saying, just evokes my own memories. And I love listening to it, so I know I'm gonna return to it again and again.

[Stephen Thompson]

So much nostalgia this week. Honestly, the song that is still just kind of ringing and radiating in my head in wonderful ways is Blue Rag's Raging Wind from Disney Boy. Just these beautiful piano lines that I just couldn't shake. I really, really love that song, but as you said, it is hard to narrow it down, including many songs that are cooler than we are. And that is our show for this week. Thank you so much, Chelsea O. For taking time out of your week at the Bridge in Buffalo.

[Chelsea O]

Thanks, Steven. It was a real pleasure.

[Stephen Thompson]

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 Simon Rettner and edited by Otis Hart. The executive producer of NPR Music is Saraya Mohamed. We'll be back next week to discuss the new album by Tyler Childers with Joe Kendrick of WNCW in Western North Carolina. Until then, take a moment to be well wash around in the nearest kiddie pool and treat yourself to lots of great music.

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