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17th streaming only on Hulu. Just

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a heads up, this podcast includes

0:22

explicit language. So

0:25

Nate, there was a big happening

0:27

this week. I'm sure you were privy to

0:29

the experience. Yeah. The solar eclipse that everybody

0:31

took a little bit of time out of

0:33

their day to experience. I'm

0:36

curious how you experienced it. Yeah, the eyes

0:39

were on the skies. I pulled my kids

0:41

out of school an hour

0:43

early and we went out on the back deck and

0:45

thanks to our local public library, we

0:50

had some cardboard and cellophane glasses. And yeah, we

0:52

just kind of took part in the celestial event.

0:57

It was cool. We didn't get into darkness.

0:59

We weren't in the path of totality here

1:01

outside of

1:05

Philadelphia, but it was a

1:07

noticeable change and got to hear the

1:09

birdsong kind of emerge and things got a little cooler. And

1:12

despite the cloud cover, we had a nice time.

1:14

How about you? Yeah, I very briefly was outside.

1:16

I did not have any glasses, so I felt

1:18

like I couldn't get the full

1:21

experience, but it did get dark here in the

1:23

DC area for a little bit. It's

1:25

always interesting to

1:27

be a part of something like this and really sort

1:30

of experience a little bit of the wonder of the

1:34

universe, like how small you are in comparison to everything

1:36

that is happening out there, which

1:41

feels like a pretty good lead-in to

1:44

the conversation about an artist that we're going

1:46

to talk

1:48

about today. I'm Sheldon Pearson, editor at NPR Music.

1:50

And I'm

1:54

Nate Shenin, editorial director at W.E.A.R.

1:57

and I'm a director at W.E.A.R. RTI.

2:01

It's New Music Friday so we're

2:03

here highlighting new releases for April

2:06

12th from a vast

2:08

pile of music released every week we've

2:10

pulled a few of our favorites the

2:12

first record that we're gonna talk about

2:14

is one that I know you've been

2:17

excited about Nate. Yeah this

2:19

is a new album by the artist

2:21

known as Shabaka previously known

2:24

as Shabaka Hutchings he is

2:26

a woodwinds player saxophonist that a

2:29

lot of people know from a

2:31

couple of bands The Comet is

2:33

Coming and Sons of Kemet and

2:36

this album is it's

2:38

a pivot to flute something that

2:41

we've talked about in the

2:43

culture more broadly and and

2:45

with one specific analogy but

2:48

Shabaka at least for the moment

2:50

he is hanging up his saxophone and

2:52

really focusing on the Shaku

2:55

Hachi and other wooden and

2:58

folkloric flute instruments and

3:00

on this album whose title is

3:02

perceive its beauty acknowledge its grace

3:05

he's really presenting this kind

3:08

of like holistic picture of

3:10

why he's he's making this

3:12

this shift it's

3:17

an album that takes a step back from

3:20

virtuosity from outward

3:22

intensity you know it's a real inward

3:25

seeking recording and it's also

3:27

a kind of portrait of community. 100%

3:30

I think you mentioned the community and that feels

3:32

like the most important part here right I mean

3:35

this is obviously a

3:37

shift that has started with

3:39

the 2022 release African culture

3:41

which he played the Shaku

3:43

Hachi Japanese bamboo flute on

3:46

in sort of pursuit of

3:48

meditation and ritual awakening that

3:50

one seemed more in pursuit

3:52

of like solitary alignment

3:55

this record is

3:57

performed with input from just a wide

4:00

array of collaborators Andre

4:02

3000, Esperanto Spalding, Moses

4:05

Sumney, Brandi Younger, Floating

4:07

Points, LaRajee, Saul Williams,

4:10

Elusive, just spreading

4:12

across the sonic spectrum.

4:15

And it feels more to me

4:19

like this is a project where he's

4:21

trying to center himself in his music,

4:24

along with anyone who is sort of willing to take

4:26

that journey with him. He mentions that he like reached

4:28

out to all these artists individually with hopes

4:31

that they would respond to him and everyone

4:34

did. He was surprised by that.

4:38

But I think in the process of

4:40

working on this, this record feels like

4:42

a real sort of statement of purpose.

4:45

His exploration of flute music

4:47

leading him towards a greater

4:49

inner truth. Not to

4:51

suggest that drums and vocals give

4:53

a thing more intention, because there's

4:55

plenty of that on here as

4:57

opposed to African culture. And they

4:59

are calling this his like solo

5:01

debut. But I think these

5:03

songs sound fuller and are clearly vying

5:05

for your attention, and

5:07

even your perception. Perception,

5:14

absolutely. That's, that's the key word here, you

5:16

know, it's an album that is, it's kind

5:19

of an invitation to openness. You know, I

5:21

think it really casts a spell

5:24

successfully. And some of that has to do

5:26

with the difference to my

5:28

ear between this album and

5:30

the previous record, which I think is

5:32

beautiful and immersive in its own right.

5:35

But here, you know, he is such

5:37

a such an alert and generous and

5:40

in the moment collaborator, you know, like that's,

5:42

that's been at the heart of his artistic

5:44

practice, like from the beginning. So

5:48

to take that skill set

5:50

and that capability, and

5:52

to put it at the center

5:54

of this kind of swirling, gentle,

5:58

you know, flickering consciousness, kind

6:00

of thing. It really takes this album

6:02

out of the realm of new

6:05

age or whatever you want to call it. It's

6:08

not an ambient record. You know what I mean?

6:10

This is not ambient music, even

6:13

though it fulfills some of those

6:15

characterizations. It's an album of listening.

6:17

Absolutely. It's an album of collective,

6:20

creative, spontaneous action. But all of

6:22

that can only happen because

6:24

everyone in this ensemble, which changes from

6:27

track to track, is really deeply

6:29

present with each other. To

6:33

your point, I've been thinking of

6:35

the album title as a mantra.

6:38

Like, perceive its beauty, acknowledge its

6:40

grace. Those are like active words.

6:42

Like, you are being forced to

6:45

take this thing in. It is

6:47

not ambient music. It is not

6:49

residing at the background of your

6:52

consciousness. It is there for

6:54

you to engage with directly. I was

6:56

wondering, is there a song on this

6:59

record that you feel really encapsulates this

7:01

core idea of taking in the

7:03

grace and beauty of a thing? It's

7:07

funny because it's

7:09

such a rolling experience.

7:12

I think the sequencing on this album

7:14

is top notch. He pulls you through

7:16

the whole thing. It's really difficult to

7:19

pull out a specific track,

7:21

but maybe one to

7:23

call up, it's really kind of the

7:26

centerpiece of the album or the pivot

7:28

point. There's a track called Body to

7:30

Inhabit. And unlike most

7:32

of the album, this has like

7:34

a very clear rhythmic element. And

7:37

it also has some really

7:39

fantastic verse from the poet

7:41

Paul Williams. Body

7:44

to Inhabit stars at the

7:48

feet. Body to Inhabit universe

7:50

stars at the feet. Time

7:52

Dragon, forgetting I remember. I

7:54

forget again. Forgetting I remember.

7:56

I forget again. I'm

8:00

down sucky when I wake, feed me I

8:02

just maintain I'm so out, thought to look

8:04

a little different to a number's eyes This

8:07

that and the other time, this that and

8:09

the other time Body to

8:11

inhabit, universe stars as a feed time

8:13

dragon Behind the light, behind the beat

8:16

update another version Even a cheap holy

8:18

wood burning, breathing deeper Thought I knew

8:20

but not for certain She said she

8:23

saw my other face when I'm inside

8:25

her I looked around wiping my saliva

8:28

Who's that peeking through my eyesight, showing

8:30

up unannounced Who's turnin' time to... This is a track

8:32

that stood out to me from the first moment that

8:34

I heard it It does feel

8:36

like Saul Williams as an artist and

8:39

poet is like sort of directly in

8:41

line with the energies that Chewbacca is

8:43

trying to channel on this record So

8:46

it's completely understandable that he would

8:49

be sort of... He's

8:51

almost the most forward voice

8:53

on this record Illucid,

8:55

another rapper appears on the

8:58

record but sort of in

9:00

this like background like spatial

9:02

chanting For

9:12

me though, there's another voice that when

9:15

I think about perceiving grace and beauty

9:17

that comes to the fore I

9:19

think about Moses Sumney on

9:21

Insecurities I

9:26

keep looking over my shoulder

9:30

I keep looking over my shoulder

9:36

I keep looking over my

9:40

shoulder I

9:55

keep Looking over my

9:57

shoulder. There's

10:09

something about Moses. some me vocals

10:11

had scream grace and Beauty and

10:13

then in this blend of like

10:16

Breath, The Fleet and Winding Harper

10:18

is layered beneath you get almost

10:20

this very a cereal feeling that

10:22

he seems to gesture directly at

10:24

this grace and beauty that she

10:26

baucus trying to jam. And this

10:29

reminds me at the Two Thousand

10:31

and Twenty Three Big Year's Festival

10:33

I saw as completely captivating Moses

10:35

Some performance. and then a few

10:37

hours later I. Was standing and

10:40

swaying to an hour long for

10:42

own performance by Natural Information Society

10:44

said no playing on one note

10:46

from seventy minutes and I looked

10:48

over and moses some He was

10:50

standing like a few feet away

10:52

and he was also swaying. and

10:54

five And you know, so it's

10:56

just it's idea of vibration in

10:58

energy and you know that these

11:00

artists are all communicating along that

11:02

spectrum. Yeah, I'm speaking of big

11:04

years. I was also at this

11:06

year's Figures Festival where I saw

11:08

Subotica. As a member

11:10

of the entourages performing. Andre.

11:13

Three thousands new Blue Sun music and

11:15

this was in a church. He was

11:17

one of five performances that Andre gave

11:19

over the course of the festival, and

11:21

it's the only one I think that

11:23

tobacco was present for. Throughout. The

11:26

performance and I really felt that

11:28

Sir Barca raise the game for

11:30

everybody in that on saddle. You

11:32

know he and Andre are are

11:34

flute bro's suspicious know whereas they

11:36

both loved eking out over this

11:38

new obsession. Yeah, and they

11:40

have a really fantastic chemistry in performance.

11:42

In a you really get the sense

11:45

that it's not about competition at all.

11:47

It's really the sort of mutual discovery

11:49

listening to what the others doing and

11:51

like leaning into a it up you

11:54

know sir of brushing against it. I

11:56

did not go into their performance expecting

11:58

to be as. Like completely

12:00

knocked out as I was, but

12:03

yeah, I was converted considerably

12:05

to the cause and good I

12:07

think tobacco's presence as. You.

12:10

Know as sort of a source of

12:12

inspiration and also as a kind of

12:14

co sign for Andre. I think I

12:16

think it meant a lot. It's funny

12:18

that there's sort of flute journeys have

12:20

aligned and it's perfect way. Andre obviously

12:22

appears on this record as well. And

12:24

there's a moment where all of these

12:26

great players converge on that song. It's

12:28

old. I'll do whatever you want to.

12:39

Hundred Places Flute, Esperanza Spalding

12:42

plays bass, Floating Points plays

12:44

on and Carlos Nino plays

12:46

on It's a you have

12:48

this link. Incredible cast of

12:50

players coming together to form

12:52

this lake. Country musicians around

12:54

this instrument and it's like

12:56

of vortex subbed in you

12:58

and about four minutes in

13:00

this sort of like circular

13:02

melody start splitting. He

13:25

reminds me of them. Stick off

13:27

at restaurants visit, you know the

13:30

dinner table is ready. This this

13:32

transition from being on standby to

13:34

suddenly being alert. but it's like

13:36

then it isn't done. It descends

13:38

into the sliding rabbit hole of

13:41

as groundless balding chanting literati vocals.

13:43

The you get the sense that

13:45

like. This thing

13:47

is so much bigger than all

13:49

of the players who are involved

13:51

in this. They are truly realizing.

13:53

Shoe Boxes Division. Of coming together

13:56

as one and serving miss

13:58

Great sort of spirit. Purple.

14:00

It would have been a perfect

14:02

soundtrack for the Eclipse. One hundred

14:04

percent fit. That's sure.

14:07

backers perceive it's beauty, acknowledge

14:09

it's great. Our

14:17

next album is from the

14:19

artist Maggie Rodgers. It's called

14:22

don't Forget Me I'm. Finally,

14:25

Was a viral sensation back when.

14:27

that still really meant some take

14:29

a clip of for Row Williams

14:31

being moved by her song Alaska

14:33

during a class in my youth

14:36

are spread across the internet and

14:38

gave rise to a career on

14:40

Pops periphery that has taken her

14:42

all the way to Harvard Divinity

14:44

School. Funnily enough, Don't Forget Me

14:46

is her first records and not

14:48

have a wholly personal focus name.

14:51

what? What did you think about

14:53

The threat. I love

14:55

this album. This is a rare thing

14:57

for people like us but my first

14:59

taste of this album came on the

15:01

radio. You know I just I was

15:03

driving and it's W X P N

15:05

Started playing the title track and first

15:07

single from this album like months ago

15:09

and I recognize your voice immediately and

15:11

the song was does. That. Mean,

15:13

it just grabs you right away.

15:16

It's a beautiful yearning and like

15:18

it's actually took me a few

15:20

listens to realize how. Like.

15:22

Emotionally devastating Syria too, Because

15:25

because it doesn't. It. Doesn't

15:27

put that. At. The Forefront, you

15:29

know I'm You have to kind of

15:31

let it sink in a little bits.

15:33

But yeah, the whole album seals. You

15:36

know it feels like a broken in

15:38

pair of jeans or something. if it's

15:40

like it's got of a real kind

15:42

of loose. Folk rock is dynamic, but

15:45

her precision would language and her emotional

15:47

I q are so president and every

15:49

saw on this album. I think it's

15:51

great. You. Mentioned

15:54

the folk rock sound it was

15:56

cope reduced with in the joke

15:58

food most the instruments and worked

16:01

on the last three Casey Musgrave

16:03

records including album meteor winner Golden

16:05

Hour. I think you can hear

16:08

his influence on this record for

16:10

your a beaming sounds on my

16:12

songs like so Sick Of Dreaming

16:15

are Never Going Home. To

16:31

see. Them.

17:02

Since one of those steady shoveling

17:04

group that has him written all

17:06

over up by the power is

17:09

in the way that she delivers

17:11

have roaring hook the way it

17:13

builds to the second plea of

17:15

not being forgotten. Emotionally

17:37

devastating, you are late sucked into the

17:39

sound of her voice so you don't

17:42

really hear it at first. But it's

17:44

like this real intense song about been

17:46

baffled about the concept of having a

17:48

special somewhat and not really seeing that

17:51

for yourself, being more preoccupied with the

17:53

company that companionship brings and not being

17:55

certain that love is on the other

17:58

side of it. It's or. Really

18:00

powerful song that I think is

18:03

aided by the fact that she

18:05

says she moved away from autobiographical

18:07

songwriting. On this record she was

18:09

inspired more she says by like

18:11

of a Thelma and Louise character

18:13

in her youth home base and

18:15

it's like system exists of these

18:17

performances are first takes like they

18:20

recorded initially a collection of demos

18:22

that they thought would be recorded

18:24

by a band but decided that

18:26

in the end that this is

18:28

how it should be. It was

18:30

more emotionally honest to leave be songs as

18:32

the arts and I think you can really

18:35

hear that in all of her vocal performances.

18:37

Yeah for sure that idea of like

18:40

just kind of banging it out like

18:42

you can do that when you have

18:44

people who are in such command of

18:46

the tools at their disposal. And also

18:48

you know Electric Lady Studios. I don't

18:50

know. had something in the go out

18:52

of something in the ballot fuels the

18:54

bad plays. This

18:58

another track on here is one of

19:01

the less obvious facts on the album,

19:03

but I want to get your thoughts

19:05

on this. I was playing this album

19:08

again in the car and my thirteen

19:10

year old daughter heard this particular tracks

19:12

and said it's really giving Taylor clear.

19:16

Which is not the most obvious connection

19:18

to make, but this is a song

19:20

called The Kill and I wonder if

19:22

you hear it to say. Here,

20:00

Taylor, I think there's a whole

20:02

class of young women on the

20:05

edges of pop who seem to

20:07

be pulling in that like. Hyper

20:10

specificity the like yeah, in the

20:12

moment present this that comes with

20:14

being in a relationship. For in her

20:16

song writing I hear the same sort

20:19

of thing on on and on and

20:21

on. A.

21:02

Somewhere to me sort of

21:04

underscores the broader theme of

21:06

the album like the benefit

21:08

of hindsight, the wisdom of

21:10

getting older, the endless cycle

21:12

of learning hard lessons, but

21:14

like still being like pulled

21:16

into that rotation every every

21:18

time and feeling everything so

21:20

deeply it intensely. Despite that

21:22

knowledge, it's really something that

21:24

I think brings a real

21:26

charm to her music. I

21:29

don't think she loses Amy

21:31

of the person. Or miss of

21:33

her previous albums. In this move

21:35

away from writing just about her

21:37

own experiences which I think allows

21:40

her songs to expand not only

21:42

in sound but in scope. The

21:44

specificity, as we say still there.

21:46

it's just not necessarily have a

21:48

window straight into her own psyche

21:51

is no specific. Armed with C

21:53

C as such a vibrant imagination

21:55

that every character drawn in the

21:57

songs is vividly draw. Maggie

22:01

Rogers L. Forget. That.

22:13

In case you haven't heard, you can

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22:51

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back. This. Message comes from

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we're back on Sheldon Pearson. I'm

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best new Elms out on Friday,

24:35

April twelve. Our

24:37

next album. Is.

24:39

From the artist and singer

24:42

lives right. It's cold

24:44

shadow nice. I know you like this

24:46

one. would you? thought about. It. Man.

24:50

Lives right has. I'm going to say

24:52

the most obvious thing anyone has ever

24:54

said. This woman has a voice. You

24:59

know is it always feels

25:01

like settling into a bubbling

25:03

hot tub snowman. Yes, it

25:05

is so warm and welcoming

25:07

and so full of like

25:09

honey and smoke and texture

25:11

and like simmering goodness, you

25:13

know? But she's also a

25:15

really really thoughtful curator of

25:17

her own work. and I

25:20

have. A wonderful songwriter and

25:22

so on. this album we

25:24

have several really nice original

25:26

songs and also system and

25:28

cast a collection of cover

25:30

songs like a version of

25:32

the Doing Well Stephen Rawlings

25:34

I Made a Lover's Prayer

25:36

Ah Yes! Me

25:41

too. Me

25:50

too. Ah,

26:08

And and even like the Cole Porter tune,

26:10

I concentrate on you which probably a lot

26:12

of people know from Frank Sinatra's version. Who

26:18

cry. They.

26:26

See those. Ah

26:41

ha in

26:43

today's money. Ha

26:48

he slow. It

26:50

all really fits together beautifully poetic,

26:52

of course again the voices at

26:54

the center of this thing, and

26:56

it just has like it. Deep

26:58

magnetic pull, This. Is

27:01

Lives Rights first album since Twenty

27:03

Seventeenth Grace. It was inspired by

27:05

the death of her grandmother's sort

27:08

of feeling and exploring grief but

27:10

also I she put it celebrating

27:12

the kind of love that becomes

27:15

more apparent and powerful in the

27:17

presence of loss and uncertainty. I

27:19

see her voice has of way

27:22

just capturing that moving through that

27:24

sense of loss it has such

27:26

a rich and resonant home. As

27:29

you mentioned she's. Obviously a great

27:31

an accomplished interpreter I she's

27:33

taken on everything from Bob

27:35

Dylan, two gospel standards, but

27:37

I really was most struck

27:39

on this record by the

27:42

stuff that she wrote herself.

27:44

They to me are the

27:46

most confident performances on an

27:48

album full of flake really

27:50

subtle vocal takes a she

27:52

brings some incredible gravitas to

27:54

pretty much every song she

27:56

takes on. and I think

27:58

for covers of Caitlin Candies

28:00

Lost in the Valley in

28:02

Candy Stevens sweet feeling become

28:04

nearly hymnal in her hands.

28:07

I'm curious what you

28:09

make of the single

28:11

Zero with Michelle Indigo

28:13

Shallow? Blue. Screen.

28:25

On. How

28:30

you. See.

28:35

Know. Say.

28:39

In this. Was

28:56

around Martha around. His

29:03

waist me. As other

29:05

to. Move is.

29:08

To me it's like oh no, really.

29:10

Sort of quiet subdued record. It is

29:13

perhaps the most grew for rid of

29:15

any of the songs. What was your

29:17

take on that? That. Call with

29:20

the up the Great Lakes list

29:22

right? Really did come out of

29:24

the church. This is the deepest

29:26

part of her musical experiences. Absolutely

29:29

foundational to her and so whenever

29:31

she goes there believe it is

29:33

all consuming and in on that

29:35

track Any time you have Michelle

29:37

and to get Cel and. You're

29:41

already halfway there. You can hear that thinks

29:43

live in as Soon as yeah to show

29:46

and man and you know dance. Any parts

29:48

on drums who plays. Of a lot

29:50

with Michelle it's all. Saw a

29:52

team here. yes I think that

29:54

on an album that house on

29:57

lot of of kind of slow

29:59

meditate Tatum It's nice to get

30:01

some of the Sanctuary in their

30:03

to yes and you are. You

30:05

know there is so much as

30:07

we said texture and richness in

30:10

the voice that you can get

30:12

lost in it, but she's not

30:14

afraid to. You know it's not

30:16

like she creates music where the

30:18

voices like on a pedestal to

30:20

be worshiped. You know what she's

30:23

really interested in like moving people?

30:25

Yeah yeah, I'm into your point.

30:28

That. Song itself is making this

30:30

really poignant statement about like using

30:32

the lingering influence of someone you've

30:34

lost as a guide to the

30:36

rest of your life journey She

30:38

sings i'm Going to keep On

30:40

Moving in the rhythm of your

30:42

Love and both her boys and

30:44

the base seem to carry the

30:46

full impact of that love and

30:48

I think that is like what

30:50

she is holding. In

30:52

her throughout the performances On

30:55

this record there's another song

30:57

called Sparrows that features Angelica.

31:01

A nice. Ah,

31:16

Ah, So. Ah

31:20

how and. Storm

31:24

and it has this gentle not

31:26

in is that is like a

31:28

sweeping current. Almost. And then both

31:30

of the singers let the full

31:32

force of their voices loose in

31:34

two different languages. They're going back

31:36

and forth. You

32:03

hear sort of. Every

32:05

single let it range of

32:07

flake erupt out of her

32:10

and it feels like this

32:12

got tides. I think even

32:14

in it's quieter moments it

32:16

just such a superb displays

32:18

of an artist who knows

32:20

that the voice itself can

32:23

communicate as much as when

32:25

it's expressing in the lyrics

32:27

speed of he said. That's.

32:37

Lives Rights Shadow. Our

32:39

next record is Leyland Mccallum.

32:42

Son. Without the. And. The

32:44

title track on this record pulls

32:46

from of Frederick Douglas speech from

32:48

Eating Sixty Seven. The whole album

32:50

is really in conversation with many

32:53

Black feminist thinkers who helped inspire.

32:55

It's Nate, what was your take

32:57

of this record? The. Intellectual

32:59

scaffolding of this album is

33:01

so. Deep near as

33:03

he says is now she's

33:06

thinking about ah No after

33:08

Future as theorists and speaking

33:10

about liberation literature. But I

33:12

think he is almost as

33:14

a disservice to that like

33:16

foreground that because this is

33:18

an album that wears it's

33:20

pedagogy. So. Lightly, you know

33:22

it's it's like yeah, yeah, we talked

33:24

about lives right? using the voice to

33:27

kind of like center or experience And

33:29

with Layla Mccalla I feel like she's

33:31

doing a similar thing but with rhythm.

33:34

On this album you know different manifestations

33:36

of rhythm, including some that not very

33:38

clearly in the direction of Haiti, but

33:41

like all kinds of stuff. And see

33:43

for example in that piece were she's

33:45

alluding to Frederick Douglas. She really wants

33:47

to put it in plain spoken language

33:50

so you know. Partners Back to our

33:52

eclipse conversation is she says you know we

33:54

all want the warmth of the sun, but

33:56

not everybody wants to feel the heat. You

33:58

know. Richard's like that's

34:01

a metaphor that a child can understand

34:03

You on the club says. You.

34:17

Can son was out there.

34:20

He. See

34:22

invests like the full force

34:24

of her inquiry into these

34:26

kinds of lyrics, but she

34:28

worked really hard I think

34:30

to make them like as

34:32

plainspoken as day. Yeah, I

34:34

think part of the point

34:36

of this music is that

34:38

these be heading concepts should

34:40

be available and accessible to

34:42

any person. I think the

34:44

thesis of. Mine

34:47

in the room I

34:49

am trying to. I'm.

34:51

Trying to find. That

35:42

journey of self discovery that

35:44

pursuit of liberation is like

35:47

of peaceful. Hyun soo been

35:49

understanding right and everything that

35:51

is floating around that is

35:53

in service of it. You

35:56

mention the rhythms, it's music

35:58

channels Afro Be. The channel.

36:00

oh he can have Blue The. Channels.

36:03

A Brazilian tropical, younger for

36:05

all on a voyage of

36:07

self discovery that to me

36:09

feels almost selfless which is

36:12

to such a rare thing

36:14

see here. But the music

36:16

itself is so striking and

36:18

you know she played so

36:20

many different instruments on this

36:22

record. They

36:25

came as see. No.

36:31

Me: Either.

36:42

Though I see. Standing.

36:49

On is. The.

36:54

First half his picture as in

36:56

lovely. And then it descends

36:58

into this jamming that like builds

37:00

and builds to this almost like

37:02

whirring Five Five Zero. Much

37:12

Two different songs. Absolutely ecstatic. But

37:15

I think in that moment. Hear

37:18

the full range, the full

37:20

spectrum that she's pulling from.

37:24

One tractor I love for

37:26

the joyous intensity of the

37:28

the band dynamic is or

37:30

take me away. A.

37:37

A. Very

37:47

clearly a song about transcendence

37:49

and for the of and

37:51

in and it's it's model

37:53

diseases, especially in the rhythm.

37:55

Everything here hills Isis in

37:57

pursuit of of list. Not

38:00

just themselves but of community.

38:03

The song scale to Survive

38:05

which is dedicated to the

38:07

poets Alexis, Police Guns and

38:09

in Folks Brazilian from the

38:11

Collier to has this really

38:14

cleansing energy. They're like little

38:16

chirps and Moroccan than are

38:18

playing throughout. Its and then

38:20

you get this bridge per

38:22

have heard shallow depth sweeps

38:25

through and nice crashing waves.

38:29

Move.

38:36

Verizon All Muslim to the whole

38:38

thing. To your point, it's like

38:40

it is moving in a lot

38:42

of different directions. But everything on

38:44

the album. Feel. Flake.

38:46

Just a part of this searching

38:48

curiosity in service of this greater

38:51

understanding of how we can move

38:53

to be more actual highs versions

38:55

of ourselves. It's clear that she

38:58

is on their journey for herself,

39:00

but she also wants to help

39:02

other people along. That journey is

39:05

interesting. She's talked about how she

39:07

normally goes into an album with

39:09

the songs and the framework of

39:11

the album already thought out before

39:14

she goes into the studio. And

39:16

on this record they were sort

39:18

of building the frame in real

39:20

time and in that process you

39:23

learned how to help. She was

39:25

by though she worked with of

39:27

you can hear that Comfort and

39:29

that shrugs throughout this. Yeah, like

39:31

seizing conversation with so many ideas

39:33

written and sonic. but. It

39:35

is because of her place in her

39:37

group, in her community. along the continuum.

39:39

Next, this journey is payout. I completely

39:42

agree and I think that that sense

39:44

of of building as you go is

39:46

it's actually crucial to the spirit of

39:48

this album. And you can only do

39:51

that when you have complete trust. You

39:53

know it strikes me or another set

39:55

of lyrics on this album from a

39:57

song called Love We had. She.

40:22

Sings his life so with so much

40:24

harder to says i'm when we were

40:27

younger our hearts were open wide I

40:29

felt my heart stretching. So why my

40:31

heart stretching so wide and she contrast

40:34

that with you know her grown up

40:36

self and the the garden is in

40:38

the skills and harm that we've done

40:41

to each other and just the wave

40:43

all the way that we learned to

40:45

to be protective. you know up I

40:48

love this because often you hear in

40:50

songs in a user people serve yearning.

40:52

For the Innocence of Youth And

40:54

I think that she would say

40:56

that it's not so much that

40:58

childhood is is a state of

41:00

innocence. It's more that you know

41:03

this. It's more openness right there

41:05

and is actually courage in that

41:07

openness. You know it's it's not.

41:09

It's not just a default position

41:11

isn't enough to opt in. Our.

41:28

Son without. We've got

41:30

a bunch more albums to share in our

41:32

lightning round. That's coming up right

41:34

after this short break. This. Message

41:36

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details. It's

42:07

time for a quick round. Some

42:09

of the album's out today April

42:11

twelfth. Night. What do you have

42:13

from. Other to start with

42:16

an album that actually released a few

42:18

days ago. it's tomorrow's Another Day by

42:20

the jazz trumpeter and composer Jeremy Pelt.

42:33

He's a jazz musician and

42:35

has also become a kind

42:37

of documentary in of jazz

42:40

culture, but Jeremy has a

42:42

a real sense of the

42:44

jazz tradition in active evolution

42:47

and and his troubled saying

42:49

is always supremely confident. On

42:52

this album, he is working

42:54

with artists like the guitarist

42:56

Alex Wins, the aforementioned drummer

42:59

The Anthony Parks plays on

43:01

a few. Tracks sister have

43:03

a really confident portrait of

43:06

the jazz tradition, blending. From

43:16

the. Band Mess up on Gravity

43:18

Hill, the Canadian punk band, His

43:20

Back Legs, the noise of thrashing

43:23

guitars. Boy do I have an

43:25

album. Their songs sound like crashing

43:27

through Machine Plant in the best

43:30

way possible, but the Could Cost

43:32

Me is always covered by this

43:34

sublime streak of. My

43:54

Next To is a duo

43:56

album by the saxophonist Caroline

43:59

Davis and the guitarist Windy

44:01

Eisenberg. They got together to

44:04

make except when which is

44:06

silly the In album that

44:08

sort of straddles improvisation and

44:11

song crafts. He.

44:20

They're both on vocals on

44:22

this record with are a

44:24

number of different sonic landscapes.

44:26

It's really introspective and really

44:28

collaborative and I are very

44:30

interesting. Listen also out Today

44:32

Girl and read: the Norwegian

44:34

songwriter and indie pop artist.

44:36

Just released her first album

44:38

in Twenty Twenty One. The

44:40

New one is out Today.

44:43

It's got an exceptionally appropriate

44:45

title, I'm doing it again

44:47

baby. Huge. Issues.

44:58

Sylvan. When we're discussing Maggie Rogers

45:00

earlier, I mentioned to Taylor Swift

45:03

influence and Girl in Red actually

45:05

opened a handful of dates on

45:07

the Arrows tour last year and

45:10

you can definitely hear some of

45:12

that seem specificity of experience. In

45:25

Our Lives Record is the second have two

45:27

collaborative albums by the rapper Future and the

45:29

producer Metro Boom In to release this year.

45:32

Old. we still don't trust their

45:34

first one. Sick that quite a

45:36

hornet's nest thanks to a surprise

45:38

appearance from one Kendrick Lamar native.

45:40

You heard anything about this, you

45:42

know I am. I am new

45:44

to this. Demas has a very

45:47

intrigued. Know it

45:49

happened very quickly. you know the

45:51

first album we Don't Trust which

45:53

in retrospect probably a fitting title

45:56

for what has come in in

45:58

it's wake spawned. Surprise

46:00

verse from the rapper

46:02

Kendrick Lamar. Nice

46:17

middle responding to his peers

46:20

drapes N J Cole sort

46:22

of singling himself out of

46:25

a so called the Very

46:27

End Doing so in traditional

46:30

Kendrick fashion, being the loudest,

46:32

most chest beating person in

46:35

the room home specific home

46:37

subsequently responded with his own

46:40

does on Friday which is

46:42

it seemed a bit more

46:44

tepid in response. And

46:47

he even disavowed it at his

46:49

Dream Bill Festival on Sunday, saying

46:51

that it was the Les Mis

46:53

thing he ever did. And and

46:55

he wishes he hadn't put that

46:57

energy out there. It's. Interesting

47:00

to see all of this take

47:02

place on somebody else is called

47:04

home or in the context of

47:07

their rollout. I'm not sure that

47:09

this record tim. Supplant

47:11

all that excitement but future and

47:14

measure Boom in always bring the

47:16

best out of each other no

47:18

matter what the drama. Chickens oh

47:21

man so like this. Will.

47:23

Take so much for joining me made. It's been a

47:25

real pleasure getting the chat with you. Death was a

47:27

lot of fun thing seldom. Well,

47:30

that's going to do it for this

47:33

episode of New Music Friday. We appreciate

47:35

listening. If. You have see

47:37

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47:39

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47:41

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48:16

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