New Music Friday: The best albums out May 29

Summary

NPR Music – New Music Friday: The Best Albums Out May 29

Date: May 29, 2026
Host: Stephen Thompson
Guest: Andrew P. Brown (KUTX, Austin, DJ "Soundfounder")
Special Guests (Lightning Round): Ana Maria Sayer (Alt.Latino co-host), Robin Hilton (All Songs Considered), Ann Powers (NPR Music Critic)

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Overview

This episode of New Music Friday dives deep into the best new albums released on May 29, 2026. Host Stephen Thompson, joined by Andrew P. Brown of Austin’s KUTX, explores the return of beloved icons, innovative electronic duos, the comforting sounds of indie rock, and surprising reinventions in both the mainstream and underground. The show aims to guide listeners through not just the music, but the stories, moods, and aesthetics behind this week’s essential releases.

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Main Album Discussions

1. Paul McCartney – The Boys of Dungeon Lane

Discussion: [00:37–02:29]
Highlights:

• McCartney’s 20th solo album, referencing a Liverpool street and steeped in nostalgia and memory.
• Stephen Thompson: “Victory lap at 83 years old, soon to be 84. Like, obviously, Paul McCartney has absolutely nothing left to prove. But I did appreciate with this record that ... it feels like he still has stuff to say, stuff that he's still processing.” [01:21]
• The album is lauded for its warmth, reflection, and a sense that McCartney “still has stuff to say—not just a placeholder record.” [01:21]

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2. Boards of Canada – Inferno

Discussion: [02:29–09:26]
Background:

• First new album in 13 years from the influential Scottish electronic duo.
• Legendary for analog warmth and mysterious aesthetics.
• Rolled out with cryptic VHS tapes featuring hexagon symbols and ambient tones.

Key Points:

• Andrew P. Brown: “Legendary in the world of kind of bringing a warm analog feel to electronic music that was really, I feel like, needed.” [03:25]
• This is “not background music … this is the kind of record you zone into, not out of.” [04:32]
• The record weaves “spacey ambient music,” “cult and occult” themes, and odd deliberate unease.
• Standout track: “Father and Son” — features unusual, chopped verbal samples.
• Notable Quote:
  • Stephen Thompson: “If you put it on at a house party … your friends come over and they just feel vaguely unsettled.” [07:18]

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3. Kurt Vile – Philadelphia's Been Good to Me

Discussion: [09:47–15:12]
Highlights:

• Homage to his Philadelphia roots; name-checks local clubs, landmarks, and bands.
• Songs are sprawling, hypnotic, and comfort-oozing—like “if a puppy dog made music.” [12:34]
• “99th Song” is a 10-minute journey; “You Don’t Know Cause It’s My Life” captures Vile’s breezy, personal vibe.
• Andrew P. Brown: “This is the album you should play at the pool party.” [13:15]
• Occasional jolts of energy give it a dynamic, classic rock feel.

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4. Iceage – For Love of Grace and the Hereafter

Discussion: [18:27–23:42]
Background:

• Danish post-punk band’s sixth album.
• Songs are urgent, emotionally raw, and consistently teeter on the edge of chaos.

Key Points:

• Stephen Thompson: “These songs have sweep and kind of a wild eyed quality to them … threatening to barrel ahead of themselves.” [19:48]
• Reminiscent of early 2000s indie/post-punk but with a freshness and emotional resonance.
• Standout tracks: “The Weak,” “Mother of Pearl,” “Sav for Every Sore.”

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5. Feeble Little Horse – Bit

Discussion: [23:42–28:03]
Background:

• Pittsburgh band blending stormy guitars and sweet vocals.
• Songs blast by in two minutes or less, offering bursts of inventive rock and chopped-up electronic textures.

Key Points:

• Stephen Thompson: “It took me 10 seconds to fall in love with this record.” [24:40]
• Andrew P. Brown: “At moments, this almost feels like a Pixies record ... then it’ll break down into a bunch of, like, sounds being chopped up … adds mega bonus points for me.” [25:36]
• Experimental live potential discussed—how they’ll translate their wildcard sound on stage.

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6. Greg Mendez – Beauty Land

Discussion: [29:34–35:15]
Highlights:

• Philly singer-songwriter mixing Elliott Smith delicacy, Fountains of Wayne hooks, and Shins-like harmonic layering.
• 14 songs in 27 minutes—brief but impactful fragments and ballads.
• Stephen Thompson: “It really manages to land right at that sweet spot … between Elliott Smith and Fountains of Wayne.” [32:51]
• Emotional vulnerability, toy piano textures, themes of rehab, and poetic storytelling.
• Andrew P. Brown: “I like it when artists aren't afraid to include like shorter songs ... just if you're feeling it, just put it on there and we'll take the ride with you.” [34:46]

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Lightning Round: Other Notable Releases

Segment: [35:15–42:06]

- The Greenberry Woods – It's All Good Sugar, Not

• 90s power pop revival, their first album in 31 years.
• Stephen Thompson: “If you love 90s power pop, you should help rectify that.” [36:47]
• Standout single: “Trampoline” (1994 classic).

- O'. Bly – Soft Speak

• Breakbeat-influenced, grimy yet approachable electronic album.
• “We Are Sitting in a Scary Place” highlighted.
• Andrew P. Brown: “Very nice kind of light ... to balance out the darkness of Boards of Canada.” [37:31]

- Rainao – Marcria

• Puerto Rican artist blending genre with subtle electronic manipulation.
• “More than just plena meets Dembo ... something we haven’t even heard yet.”
• Ana Maria Sayer: “One of the most interesting experimentations in Puerto Rican music I’ve heard in a while.” [38:22]

- Ear – Rumspringa

• Upstate NY duo creating sound collage magic—lo-fi, mysterious, but infectious.
• Robin Hilton: “It's kind of magical … not overly arty or experimental, ... infectious just because it's so arresting and wondrous.” [39:22]

- Brian Jackson – Now More Than Ever

• Jazz-funk fusion and Gil Scott-Heron songbook reinvention.
• “This music cooks. It’s full of rage and insight—just what I need for another hot summer.”
• Ann Powers: “Brings those songs back to us in a new form … it’s just what I need for another hot summer.” [40:53]

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Notable Quotes & Memorable Moments

• On Boards of Canada’s mystique:
  “They started mailing VHS tapes ... no text, no explanation, nothing. ... A band disappears for 13 years and you hear not one peep, ... so, yeah, the excitement is huge for this record.” — Andrew P. Brown [06:11]

• On Kurt Vile’s comfort:
  “Kurt Vile is like if a puppy dog made music.” — Andrew quoting a friend [12:34]

• On Feeble Little Horse’s brevity:
  “This record kind of gets in and gets out, but it is playing along the way and it's having fun along the way.” — Stephen Thompson [26:19]

• On Greg Mendez’s song fragments:
  “If it doesn’t need to be bigger, don’t make it bigger... just put it on there and we’ll take the ride.” — Andrew P. Brown [34:46]

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Timestamps for Key Segments

• Paul McCartney: The Boys of Dungeon Lane – [00:37–02:29]
• Boards of Canada: Inferno – [02:29–09:26]
• Kurt Vile: Philadelphia's Been Good to Me – [09:47–15:12]
• Iceage: For Love of Grace and the Hereafter – [18:27–23:42]
• Feeble Little Horse: Bit – [23:42–28:03]
• Greg Mendez: Beauty Land – [29:34–35:15]
• Lightning Round Picks – [35:15–42:06]

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Closing Remarks

The episode spotlights a week where nostalgia meets reinvention, and innovative ambient textures meet perfect-power pop hooks. Whether you want to lose yourself in the analog warmth of Boards of Canada, the indie comfort of Kurt Vile, or the daring experimentation of the underground, this episode guides you to the true gems of this week's new music.

Stephen Thompson’s signoff:
"Until then, take a moment to be well. Take a nap if you need one, and treat yourself to lots of great music." [42:16]

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For a full tracklist and more recommendations, visit NPR Music.

Transcript

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[Stephen Thompson]

Happy Friday, everyone, from NPR Music. It's NEW MUSIC Friday. I'm Stephen Thompson here with Andrew P. Brown of KUTX in Austin, Texas. Welcome to the show, Andrew.

[Andrew P. Brown]

Happy to be here.

[Stephen Thompson]

It is a pleasure to have you. So the music that you are hearing right now is by Paul McCartney. Might have heard of him. He was from a band called Wings and to a lesser extent, the Beatles. His new album is called the Boys of Dungeon Lane. Do not email me. I know that the Beatles are bigger than Wings. The Boys of Dungeon lane is Paul McCartney's 20th solo album. You might have seen him performing on the last ever Late show with Stephen Colbert. You might have seen him as I did on the last episode of the season of Saturday Night Live.

[Andrew P. Brown]

I did. Yeah. And it's great. You know, I'm of the belief that he can keep going and putting out music as long as he's able. He's earned as many victory laps as he wants to take.

[Stephen Thompson]

Yeah. And I think, I mean, victory lap at 83 years old, soon to be 84. Like, obviously, Paul McCartney has absolutely nothing left to prove. But I did appreciate with this record that it's not just it doesn't feel like a placeholder record. It feels like he still has stuff to say, stuff that he's still processing. The album title is a reference to a street in Liverpool. This record is full of nostalgia and childhood memories and, you know, kind of a deep notes of wistfulness. Clearly somebody who's looking back at not only a long career, but a long life.

[Guest Musician or Artist (performing lyrics)]

The world around us wasn't safer Place was falling down, but it was my hometown

[Stephen Thompson]

and it was home to us. That is Paul McCartney. The boys of Dungeon Lane is out today. Let's kick off our more in depth discussion of albums that are out today, May 29, starting with boards of Canada. Boards of Canada are back with their first album in 13 years. It's called Inferno.

[Guest Musician or Artist (performing lyrics)]

It's.

[Andrew P. Brown]

Boards of Canada. I think you really need context around their music to fully grasp it. They're a Scottish electronic music duo. They are brothers, even though they go by different last names. That kind of gives you a hint at how kind of mysterious and confusing they like to be. To give you an idea of their kind of cult following, I've been in a Facebook group that is solely focused on Boards of Canada. And it has been dismal in there for 10 years because they haven't put out an album in 13 years. But since still people find things to post about. People dig through the earth to find some kind of relics, little pieces of an interview they did eight years ago or something. Legendary in the world of kind of bringing a warm analog feel to electronic music that was really, I feel like, needed. In the late 90s, there was so much kind of argument between like, is electronic music too mechanical and not human enough? And Boards of Canada came and presented this album that's just undeniably warm and deep and psychedelic and it definitely feels like it was made by human beings. I guess you could say that.

[Stephen Thompson]

Yeah, that's absolutely right. I mean, it's really interesting. You know, I listen to a lot of ambient music. I listen to a lot of electronic music. I often will listen to kind of instrumental ambient music to kind of fill my head when I'm doing other things. I'm definitely somebody who. I'm often a multi screen guy. I like a lot of different stuff, stimuli in my life. And I listen to a lot of electronic music as background music. This is not background music. This is the kind of record you zone into, not out of. And I love the fact that in kind of announcing this record the way they announced this album, and I would imagine that Facebook group you're in lit up when this started happening. They started mailing VHS tapes to addresses where people had recorded Boards of Canada music in the past. And like. And that's how they started to kind of let word trickle out. And I think that that speaks, as you said, to the analog nature and kind of some of the vintage tones that are running through here. But also that that air of my,

[Andrew P. Brown]

We can't talk about this album without talking about the rollout, like you were saying. Because I remember the day the first VHS tape arrived in somebody's mailbox. It was VHS tapes with nothing but hexagon shapes on them. Looks very Boards of Canada. Then you put it in a VCR and it's a bunch of imagery and ambient tones and just. But no text, no explanation, nothing. And so of course this got everybody talking. Are they about to announce something? You know, a band disappears for 13 years and you hear not one peep, not one interview, no singles released. They did one or two random remixes. Right? So, yeah, the excitement is huge for this record. Massive. And I wanted to touch on something you said because I really, it really resonated with me. I was Thinking the exact same thing. This is not a passive listening situation. If you put it on at a house party or in the background while you're grilling by the pool or something, you're probably not gonna get the.

[Stephen Thompson]

When we're talking about the different sounds that are running through this record, you take a track like Memory Death and it's making space for sort of, you know, like spacey ambient music. There's a sweeping quality to it. You get these little pings like it's like a satellite. But then there are like. Boards of Canada is really interested in, like, cults and the occult and sometimes that seeps in. They love to implant subliminal messaging in their records. And I just imagine, like you said, listening to this in a barbecue. You've got your friends come over and they just feel vaguely unset old.

[Andrew P. Brown]

One of the tracks I wanted to bring up was the track Father and Son. And that was one of the first moments that hit me where I was like, okay, this feels different. To have the verbal samples come in and be like kind of the main thing you listen to. The track is pretty rare for them. I think it sounds like people debating each other about religion or going to church or something, but it's all. It's chopped so that the conversation lands on the rhythm in a really strange and interesting way. So it's really cool to see. Even though this feels very, very much like a classic Boards of Canada album, there's still some curve balls in there.

[Stephen Thompson]

Oh, yeah.

[Andrew P. Brown]

That were surprising me. Someone who's been obsessing over their music for two and a half decades, you know. No, he never did it.

[Stephen Thompson]

That was atypical. What makes me think he can do it? Well, he's seven. A man's foes will be they of his own house.

[Guest Musician or Artist (performing lyrics)]

Well, I hardly believe that your own

[Stephen Thompson]

father or mother or brother or sister

[Guest Musician or Artist (performing lyrics)]

would be your enemy.

[Stephen Thompson]

You're gonna call him a liar? No, I'm not calling him a liar. All I can do off there was circle lower. That is Boards of Canada. Their new album is called Inferno. Next up, Kurt Vile. Kurt Vile has a new album. It's called Philadelphia's Been Good to Me.

[Guest Musician or Artist (performing lyrics)]

My poor heart was made into a rocke and I done done all that I could do. Late September can't come soon enough

[Stephen Thompson]

can

[Guest Musician or Artist (performing lyrics)]

practically taste them donuts on my tongue. But till then it's we grinding,

flying

high and coming down slow. Here comes.

[Stephen Thompson]

So Kurt Weill, singer, guitarist from Philadelphia. As you might be able to sense from the title of this record and from many of the kind of themes that course the through it. Kurt Weill has really specialized for a really long time in not only being like a really kind of dexterous guitar hero type great guitarist, but in a subtle way, weaves guitars together in ways that form kind of this hypnotic blend. And then the voice that he puts over it is this kind of cool, blissed out slacker. And his records are very much a vibe, and they really will sprawl out. There's a track on this record called 99th song that gives him more than 10 minutes of space to kind of ramble in. And a lot of his songs will do that. They're kind of taking you on a journey. But as the title suggests, it's a record about his hometown. It name checks landmarks. It name checks other bands. It name checks clubs he's played in. Not only in Philly, but in relatively nearby Baltimore. There's a shout out to Beak House, you know, a band from Baltimore. And in that way, this record feels really lived in.

[Guest Musician or Artist (performing lyrics)]

This is the 99th song on my red looper. Think I played my piano into a stupor Late in the evening to early in the morning and both at once Played it soft and low Played it soft and low Slow Watch me move so slow Because I know how to stroll.

[Andrew P. Brown]

Kurt Weill is one of those artists that he has his sound so dialed in that the moment a Kurt Weill song comes on, you know it's a Kurt Weill song. Living in Austin, I would say he's one of those artists that just gets played at every coffee shop, every local business, every cool, hip, you know, vegetarian restaurant or whatever. So I feel like when his music comes on, it's very comforting to me. I was talking to one of my friends about this, and she was like, kurt Weill is like if a puppy dog made music. I was like, that's really nice. Yes, he's very comforting. Like, he seems like somebody that I would want to be friends with. This is the album you should play at the pool party.

[Stephen Thompson]

It's a record that stops and sniffs the bushes.

[Andrew P. Brown]

Yeah.

[Stephen Thompson]

I mean, the track you don't know cause it's My Life really exemplifies, I think that spirit. It feels a little free, associated almost. I can just imagine every coffee shop, as you said, every coffee shop in Philly for the next five years is gonna be playing this record.

[Guest Musician or Artist (performing lyrics)]

You don't know cause it's my life, My life. You don't know cause it's my life, My life

[Andrew P. Brown]

and there's a lot to listen to he brings in little cinema synthesizers, little drum machines here and there, little ear candy for you.

[Stephen Thompson]

I also appreciate that there are a few jolts of energy here. The song Chance to Bleed kind of introduces this kind of chugging blues rock sound, but it's also got like a little bit of kind of classic rock sloganeering in the chorus where you can imagine that song not only being played in a coffee house in Philadelphia, but on like a classic rock radio station alongside Led Zeppelin and the who.

[Guest Musician or Artist (performing lyrics)]

Now you got a chance to play

that with that old time lo fi

DIY rock and roll nights. Yeah, now you got a chance to bleed now with that old time lo

fi DIY rock and roll.

[Stephen Thompson]

That is Kurt Weill. His new album is called Philadelphia's Been Good to Me. We've got a bunch more great records we're going to talk about that are out today, May 29th. But first, let's take a quick break.

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[Stephen Thompson]

new movies, keeping up with pop culture sometimes feels like a full time job. Thankfully, over at Pop Culture Happy Hour, it's literally our job. We break down what's actually worth watching, listening to and pretending you already knew about. So the next time someone says, did you see that? You can say, yeah, obviously. Follow NPR's Pop Culture Happy Hour wherever you get your podcasts from NPR Music, it's New Music Friday. I'm Stephen Thompson here with Andrew P. Brown of KUTX in Austin, Texas. Andrew, tell us what's going on at the station.

[Andrew P. Brown]

Well, for me personally, I go by the name Soundfounder. It's a DJ name that I made up for myself in high school. And so my show is called Soundfounder on kutx. And it's the station's first show that focuses on electronic music and beats and stuff like that. And so KUTX has been in a really cool, interesting space for the last five or six years where they really push to, like, get a good hip hop show and get a good electronic music show. And just always looking to expand the idea of. Because the slogan is the Austin music Experience. And so the conversation has always been, what is that? What does that mean? It used to mean, you know, just guitars, Willie Nelson and Stevie Ray Vaughan and stuff. And it still means that to an extent, but it also means a lot more than that. So it is really cool to be part of a station where we are all working together to kind of like broaden the vision of what Austin music means.

[Stephen Thompson]

Nice. That's exciting. I mean, KUTX is a phenomenal station. That's one. That's one we put on in the kitchen a lot, even though we don't live there.

[Andrew P. Brown]

I feel so lucky that to I started my show in 2019, you know, it was a big experiment at the time because they gave me the 1am on Saturday slot. They're like, okay, we'll see if the listeners, you know, revolt if I play a bunch of Aphex Twin and stuff. And the opposite happened. A lot of people really embrace the show. Last year, my show was voted best radio show in Austin, which is really exciting. And so, yeah, it's really fun. We explore the world of the broad, ever changing world of electronic music every week.

[Stephen Thompson]

Love it. That's Soundfounder on kutx. Awesome. Well, let's kick off our next record. It is by Ice Age and it's called For Love of Grace and the hereafter.

[Guest Musician or Artist (performing lyrics)]

At a moment's notice to wreck the ship. One error then you fucking dead boy. Heavy rain so you climb the cloud perched in the sky. Never dance you stay behind. Well, never mind. An ordinary shift pays well enough hand to mouth and there's nothing to it. You're tadpole swimming in the sewer. Hold ford and hoist your sails, baby. With nothing here, nothing there. A noise death swift on the mind. It's hard to find. But shuttered by some downcast eyes. Coordinates my little navigator. Pop the veins but your hearts are in it. I love you in an ominous way. Are you willing to pay? Are you willing to break? With all that's lame before you? Before you're swift and breathless in the dirty ground.

[Stephen Thompson]

So Ice Age is a Danish post punk band. This is their sixth album and part of what I really enjoy about this band, the settings, like kind of the song settings are unmistakably post punk, but there's real emotion to it. Sometimes Post punk music feels a little bloodless to me. And this is not a bloodless record. These songs have sweep and kind of a wild eyed quality to them. And so I love the way these arrangements are kind of constantly threatening to barrel ahead of themselves a little bit, if that makes sense. If you hear like the song the Weak, it feels like a song that is racing against itself.

[Guest Musician or Artist (performing lyrics)]

Bought myself a bird Changed it from the world Lost its melody Crush traffic Don't set free Wolf My little sparrow Used to sit Tadda's fellows on his bar Till I caught his wings, yeah Crushing its spirit but still none of my blues have gone away.

[Andrew P. Brown]

I listened to this album all the way through a few times and something that hit me kind of each time. So I graduated high school in 2003 and one of my best friends was really into all the kinds of, of post punk and rock and stuff coming out at the time. It was a really interesting creative time for indie rock bands. And so he would always burn me CDs of like LA Sav or Dismemberment Plan or, you know, I don't know, Slint and Braid and stuff like that. And this to me felt like an album that almost could have been like sitting on that stack of CDs, you know what I mean? Like it feels, I wouldn't say it feels like extremely experimental. They're not really pushing crazy boundaries, but it's interesting enough and it's really well made and really well played and the singer's voice is great. So if you want just like a good, you know, four piece rock band that is doing it well, it's an interesting album.

[Stephen Thompson]

Yeah, absolutely. And I definitely had that same reaction to it of feeling like, man, you hear the song Mother of Pearl and I was like, this would have blown up on the Blogs in 2005.

[Guest Musician or Artist (performing lyrics)]

And now you're changing plans up in your head.

[Stephen Thompson]

But you also have songs, I mean, that are very distinctly this band. You take Sav for every sore and it's got gallop to it, but it's a little bit unsteady and it always feels like it's maybe about to topple over. And I think that that quality where the songs are kind of wobbling but not falling down, gives them this sense of like you want to keep listening to hear where they go next. And I think it would be really easy. And I think a lot of post punk bands really kind of stay on rails in a way. And this doesn't stay on rails.

[Guest Musician or Artist (performing lyrics)]

All the grease I know Dots My Paints and other raw Tangled limbs laid on the feathered bed oh, I my little darling I get the impress you're a soul for every soul

Whoa, A

storm is so roaring and since heaven have us envy for us an opening in the midst sense of send our ships endure that little thing singing on us.

[Stephen Thompson]

That is Ice Age. Their new album is called For Love of Grace and the Hereafter. Next up, a group called Feeble Little Horse. It's called Bit.

[Guest Musician or Artist (performing lyrics)]

Not in the doorway. I left it open. Gold white air makes the kitchen floor wet when it's not Alamo is coated My tongue is frozen against your silver neck Are you heavy rope is waiting swelling to sleep A little birdie in the wind in the center Best friends forever underwater I can't remember.

[Stephen Thompson]

So Feeble Little Horse is a band from Pittsburgh. This is their third album. It actually came out Tuesday, so it's been out for a few days. Maybe you've already discovered it. Maybe they're as new to you as they were to me. It took me 10 seconds to fall in love with this record. The opening 10 seconds of the song Doorway, which is the first track, just these big, boomy, blustery, stormy guitars just come bursting out of the speakers. And at the same time, that kind of muscular guitar sound is set against the vocals of Lydia Slocum. And those vocals are so sunny and sugary, but they're also still part of this sturdy frame. And so this record is stormy and sweet and so catchy and so concise. These songs whiz by, you know, in two minutes apiece. You know, the whole thing flies by in less than half an hour. And there's just not a wasted moment.

[Andrew P. Brown]

Something that I personally really like. Obviously, I'm like the electronic music guy, but I loved how, like, at moments, this almost feels like a Pixies record or something. But then it'll break down into a bunch of, like, sounds being chopped up and, like, sounds like they're, like, maybe sampled themselves and mix it with a bunch of electronics. It'll break down into, like, weird loops and beats at totally unexpected times. And to me, that's awesome because they could have just made a rock record and it would have been good. But, like, going in there and, like, giving the listener more to kind of chew on with that and taking it to kind of, like, a surrealist place with the electronic elements adds mega bonus points for me.

[Stephen Thompson]

Yeah, for me, too. And you mentioned that willingness to kind of chop things up and, like, play around with vocal effects and stuff. The song Upside down is a perfect example of that where it's it has this kind of weird, sideways, kind of disorienting vibe. I think you kind of described some of the processes that I think are going on in this song. And the song blows by in a minute 43, but it is complete. This record kind of gets in and gets out, but it is playing along the way and it's happening. Having fun along the way.

[Guest Musician or Artist (performing lyrics)]

Do it.

[Andrew P. Brown]

I would like to see how they pull these songs off live because to me, one of the most interesting things in this area we're in now where most music has some kind of electronic music element to it. And it's always interesting to see how bands make that work because this totally feels like a rock album for the most part. But like I said, they have these other parts where it goes totally abstract and weird and loopy and stuff. So it would be really cool to see how they do that live because every band has a different approach to it.

[Stephen Thompson]

Well, and I want to see them live just to hear them perform the song dmt, which closes this record, which is just like screaming bluster. There's just this explosion at the end of the record. And nothing makes me want to start a record over when it's, when it's finished than just like a burst of energy, just like remind me that, like, you came here to have a blast. And I get to that last track and I just immediately start it over. That is Feeble Little Horse. Their new record is called Bit Not. We've got one more record we're going to talk about in depth, as well as a lightning round of some of our other favorite records out today, May 29th. But first, let's take one last quick break.

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[Stephen Thompson]

It's New Music Friday. I'm Stephen Thompson here with Andrew P. Brown of KUTX in Austin, Texas. Before we get to our lightning round, we want to talk about one more record. It's by Greg Mendez. Greg Mendez's new album is called Beauty Land.

[Guest Musician or Artist (performing lyrics)]

I've seen a new vision of how all look in a chip window. Still a moment. Morning bird don't sing long. Crawling around like a spider I'm pushing the ground to stay away. Dark room in a hospital bed I'm shrinking out the window and your body's shining Peacefully slept Now you're breathing with all of your chest.

[Stephen Thompson]

So Greg Mendez is a singer songwriter from Philly, like, Like Kurt Vile. Big Philly themed show this week. Greg Mendez has been putting out records for about the last decade. This new record, man, talk about relevant to my interests. These songs kind of land at this cross section where, like, Elliott Smith meets Fountains of Wayne meets the Shins. And I don't like to just, like, always just throw out references as a way of describing a sound, but that really does describe the vibe here. You get a lot of that Elliott Smith really delicate, but with a heaviness to it. You get that Fountains of Wayne where it's just these big, bright, beautiful hooks. And you get the Shins where it's sort of layered. You know, they're like, he's bringing in these harmonies and kind of doubling and tripling up his voice and making it sound, like I said, like, feathery and heavy at the same time.

[Andrew P. Brown]

Yeah, the Elliot Smith thing hit me like a ton of bricks when I was like, wow, this is really. I mean, it's really nice. And that's a huge compliment.

[Stephen Thompson]

Oh, yeah.

[Andrew P. Brown]

To be compared to Elliot Smith, obviously. But, yeah, the first. The opening track, I felt like is a great choice for opening track because it grabs you right out of the gate. Great. Gorgeous song.

[Stephen Thompson]

Gorgeous.

[Andrew P. Brown]

I want to say there was like, maybe some, like, toy piano or something layered in there. There's some interesting, like, kind of melody textures in there. Immediately, he's talking about going to rehab and. And all kinds of stuff. Whether. I don't know, it's unclear how many. How many of the lyrics are metaphorical or not, but. But, yeah, immediately I was like, okay, this is gonna hit really well for people who want this kind of moody, acoustic songwriter stuff, you know,

[Guest Musician or Artist (performing lyrics)]

Sink if I want or I'll swim Till one day I got a new job and it's not too sweet Last night I got robbed As I walked through the streets At a quarter till three when no one's around except someone like me

[Stephen Thompson]

that song's called I Want to Be Pretty, and it really manages to land right at that sweet spot for me between Elliott Smith and Fountains of Wayne. And when people think about Fountains of Wayne, they often think about, like, Stacy's mom and these, like, big, overblown power pop songs. But Fountains of Wayne had a lot of kind of tender, softer, kind of sparkly ballads. And for me, this song just hit hits right in that spot. And I didn't realize how hungry I was for that sound. And at the same time. 14 songs, 27 minutes. Swoon, you know, like, get in, get out. Say what you want to say. Some of these songs are sort of in the form of fragments, but they still feel like complete thoughts. And you have a couple tracks that are like, ooh, they're pushing three minutes and they feel like epics. This song, no Evil, you know, which is just like building and layering voices and swelling as it goes. And it's such a nice trick to make a song that is so spare and yet feels so grand at the same time.

[Guest Musician or Artist (performing lyrics)]

I've been thinking about the things you said Pacing up and down the block Inside my head again where those pretty little houses lie and they're pretty little lots I don't know why I'm crying On the sidewalk every night. Every time I share a bed with you I remember all the worst things we went through Suppose that's why I'm alone maybe you'll give me more Till I'm dancing and I'm crying

[Andrew P. Brown]

I like it when artists aren't afraid to include like shorter songs. Like, if it doesn't need to be bigger, don't make it bigger. It can be in the mix. It can be a part of the overall big picture. I noticed some of that almost feel like little rough sketches that he wanted to include in the album. And I think that's cool. I like that. I like weird, unexpected little things like that. Rather than try to kind of fluff everything up to be a three minute long, commercially viable thing, just if you're feeling it, just put it on there and we'll take the ride with you.

[Stephen Thompson]

Let's go. That is Greg Mendez. His new album is called Beauty Land. Now, Andrew, we could not get to every great record that is out today, May 29th. So we like to put together at the end of each show a lightning round of some of our other favorite albums out today. I'm gonna kick us off. So I've used the phrase relevant to my interests a couple times on this show. You know, everybody's got their thing, everybody's got their little obsessions. One of mine is little known Power pop bands of the 1990s was in college radio. In the early 90s there was a big power pop boom with artists like Matthew Sweet and the Posies. And one of those bands that I really loved was called the Greenberry Woods. They recorded a couple of just gorgeous, sparkling records for a major label in the kind of early to mid-90s and then disappeared. I never stopped loving their records, particularly the song they had called trampoline from 1994. Anyway, now the Greenberry woods are putting the out out their first new album in 31 years. And what is astounding to me about it is that it doesn't miss a beat, that there have been a couple of singles from this record. There's one called whenever you want me to. There's one called the one that makes you happy. They could have fit right in on those records that I loved in the 90s. But because most people don't remember the Greenberry woods, these songs which have been out for a few weeks or even a few months have have like Spotify play counts in the low to mid four figures. So if you love 90s power pop, you should help rectify that. The Greenberry woods new album out today is called it's all good sugar, not

[Guest Musician or Artist (performing lyrics)]

asking for forgiveness don't think I'll ever

change

A single word of kindness can leave me weeping oh, that disgrace

[Andrew P. Brown]

My lightning round pick is o'. Bly. The album is called Soft Speak and particularly a track on it called we are sitting in a scary place. It's got breakbeats, it's got kind of a grimy synth thing going on, some female vocals on it and. And very nice kind of light, maybe more approachable electronic music to balance out the darkness of boards of canyon.

[Stephen Thompson]

Headier vibes.

[Andrew P. Brown]

That is obli. And the album is called soft Speak.

[Stephen Thompson]

All right, let's bring in Ana Maria Sayer, CO host of NPR's Alt Latino Anamaria. What do you got for us?

[Ana Maria Sayer]

Rainao's latest album, Marcria, is one of the most interesting experimentations in Puerto Rican music I've heard in a while. She does all of this crazy genre experimentation, but not in the way that we typically expect, like a Dembo beat and what we've heard recently with, say, a bad bunny mixed with a plena rhythm. What she does is all this really interesting subtle electronic manipulation that blends all of these sounds really naturally together. It's more than just plena meets Dembo or reggaeton and folk. It's like a really interesting, almost ancestral blena jam meets with something we haven't even heard yet. It's just musically incredible.

[Guest Musician or Artist (performing lyrics)]

But I'm.

[Stephen Thompson]

Thank you, Anna Maria. Robin Hilton, my fellow All Songs Considered host, what do you got for us?

[Robin Hilton]

Well, the album I'm most excited about this week is called Rumspringa, and it's from a band known as Ear. You know, I think it's really hard to create much mystery around the identity of a band or the music it makes, and I think it's maybe even harder to make something that is truly surprising. But Ear does both of these things better than anyone I've heard this year. We know that they're a duo from upstate New York, but for the most part, they keep a pretty low profile and don't reveal very much. And the music Ear makes is it's kind of magical. Very often it's made of collages of sound, found sounds, electronics, little snippets of lyrics or conversations. It's very lo fi, but it's not, you know, I wouldn't call it overly arty or experimental. In fact, it can be pretty infectious just because it's so arresting and kind of wondrous to listen to. Ear is the Band again and the album Rumspringa, I can definitely say it'll be on my list of the year's best albums come December.

[Ana Maria Sayer]

Are you able to hear the sound of 10 with?

[Stephen Thompson]

Thank you, Robin. And one last pick. We got the marvelous Ann Powers. Anne, what do you got for us?

[Ann Powers]

My Lightning Round pick this week is now more than ever by the flutist, keyboardist and composer Brian Jackson. So Brian Jackson is best known for his work with the late poet Gil Scott Heron. Now, Gil Scott Heron, of course, is remembered as the godfather of rap for his hard hitting blend of spoken word, jazz, funk and social commentary. And this record brings those songs right back to us in a new form. Brian Jackson made seven albums with Scott Heron in the 70s, including the masterpiece Winter in America. For a long time, he wasn't really messing with his music. He was doing other things. But in the past few years, Jackson has returned to the Scott Heron songbook, reimagining classic songs like the Bottle and Home Is where the Hate Is, in tandem with the legendary garage house production team, masters at Work and an array of vocalists. This music cooks. It's full of rage and insight, and it's just what I need for another hot summer.

[Stephen Thompson]

All right, that is our show for this week. Thank you so much, Andrew P. Brown, for taking time out of your week at KUTX in Austin.

[Andrew P. Brown]

Austin, thank you for having me. It was a joy.

[Stephen Thompson]

Love nerding out with you, man. This was great. 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 Elle Manion and edited by Otis Hart. Our production assistant is Dora Levitt. The executive producer of NPR Music is Soraya Muhammad. We'll be back next week to discuss more new music with Laura Grant at WE X T in New York. Until then, take a moment to be well. Take a nap if you need one, and treat yourself to lots of great music.

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