New Music Friday: The best albums out March 7
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I love the way she turns the lights off in her house

Happy Friday, everyone, from NPR Music. It's New Music Friday. I am Stephen Thompson. I'm here with Celia Gregory from WNXP in Nashville. Hey, Celia. Hey, it's so great to be with you, Stephen. Thanks for having me. It is such a pleasure. We've got several great Nashville records, top to bottom, all killer, no filler this week. But first, we wanted to acknowledge the biggest kind of commercial release of the week. Lady Gaga's Mayhem is out today. Dance or die.

We did not get advance copies of it, though we have heard the singles, obviously "Die With a Smile" with Bruno Mars, "Abracadabra."

This is kind of back to Lady Gaga, you know, the big supercharged pop songs. These are not standards sung with Tony Bennett. These are not songs from that Joker movie nobody liked. This is supposed to be pure, undistilled Gaga. We're going to have a full episode about Mayhem on Pop Culture Happy Hour next week. So look for that in your podcast feed.

But first up, we are going to talk about a terrific artist from Nashville. Her name's Annie DeRusso, and her album is called Super Pedestrian. I am the driver. I am the driver. I am the driver. I am the driver. I am the driver. I hope that's okay. I hope that's okay.

Steven, I am so grateful that you had me on specifically to talk about this artist. We're big fans at WNXP and in fact, she's our Nashville Artist of the Month syncing up with this debut full-length. It's crazy because she feels like she's sort of been with us for a long time. She's been dripping singles out for years since she was a college student here in Nashville and she just sort of stuck around and now she's got this awesome debut full-length as we were saying offline, just no skips really.

I have, of course, some favorites on here, but I'm just so happy to highlight her on a bigger stage because she's finally getting this baby out in the world and it's fantastic start to finish. ♪ Before I would take to my grave ♪ ♪ The fact I had changed my flood ♪ ♪ Out of Chicago ♪ ♪ Just so I'd see you one more time ♪

I had never heard of Annie DeRusso until I was prepping for this show. And I was really just bowled over. This is your first top-down warm weather record of the year. It is so my jam. The lyrics are just sort of bored and full of longing. The sounds are just big and blustery. You know, songs about...

terrible romantic partners and unmet needs, you know, just all packaged in these big, rich, hooky songs. You know, I got to talk to her when she released an EP a couple years ago, and she said the most vulnerable she'd been to date was talking about body image, not necessarily sex and love and getting messed up. Like, she's not really shied away from those themes. But this package of songs in particular, she's really leaning into the fun. It's not just sassy and funny. It's like...

It's whimsical in a way, and yet it's still passages from her journal. The songwriting is so primo. Stuff where you're like, did she lift that from my journal? Like, is that mine? Even though I have many years on Andy Deruso, you know, talking about loaning a book to someone and you're probably not going to read my notes in the margins in your room that I'll never be in. Like...

Where I'd kill to be I've never been in A man is killing Fuck you, fuck When you're back You're back You're back You're back You're back

That song, Back in Town, is one of the songs of the year. Truly. It is just a perfect... You talk about relatability. This is an F-boy anthem. This is the, like, you are terrible. I know you're doing all these awful things. I know you are completely emotionally unavailable. When are you coming back in town? I'll see you then. Yeah. First of all, F-boy anthems and summer anthems. The Venn diagram. Just really almost a circle. Right. That's basically a circle. Yeah, exactly. Totally my brand. Totally my brand.

I can't handle this.

Back in Town was an example of her experimenting with different open guitar tunings. I mean, she's a really great riffy power chord guitarist, but I didn't realize how much she's grown as a guitarist in terms of the different sounds on the record. I'm not as technical, right? I'm listening as like, this is a hook. But she really experimented with some of the sounds and it shows evolution of her growth as an artist. ♪ Started wearing pants again ♪

I want to talk about Wearing Pants again. It was another single we got before, you know, this full release. And it shows the softer side of Annie DeRusso. And it also features fellow Belmont University grad Rustin Kelly. They've worked together on one another's records. In fact, he has his Dirt Emo Vol. 2 coming out later this month. So there's a lot of like Nashville overlap and just two really great songwriters working together. And their voices really meld well on a song like this one.

♪ Left for the last song, can't see how it ends ♪ ♪ He's a shark, a moth, he kissed me in the kitchen ♪ ♪ Break I never vent, I'm drunk and I don't listen ♪ ♪ I love as it sounds, write it good, ask me ♪

Even some of the kind of lighter songs thematically, songs that might seem like throwaways, a track like Good Ass Movie is just full of these funny references to movies she thinks are great, movies that are bad but fun, movies that you love watching with your friends. There's just something so...

so playful and seemingly effortless. But only seemingly. Anytime something great sounds effortless, it was not effortless. ♪

This is a record, you know, obviously, you know, we do this show every week and it can be a certain amount of a grind where you're always kind of focusing on the next thing and not necessarily going back. This is a record I'm saving. This is a record I'm going to keep coming back to. I'm putting it on Spotify playlists that I crank in my car. If you have not heard Annie DeRusso, do not sleep on her. This is one of my favorite albums of the year so far. Number two in your scorecard, number one in your heart.

Home Run hit November 1st. That is Annie DeRusso. Her new album is Super Pedestrian. I think it goes without saying. Highly, highly recommended. Next up, also very highly recommended, a fantastic new album from Jason Isbell. It is called Foxes in the Snow. Bury me where the wind don't blow Where the dust won't cover me Where the tall grass grows

Or bury me right where I fall. Tokyo to Tennessee. I love them all. See the windmills turn up 55. Still got so much to learn. Still feel alive. And one lonely girl is all I need. Tie me to this world. Make me bleed. Well, I ain't no cowboy.

All the time between.

Stephen, obviously, a voice of Nashville. Everybody knows him. A voice of a generation in Americana, really. I mean, people, it's a household name, Jason Isbell. But this is his first solo acoustic recording. Kind of hard to believe. Of course, he's done so much with his band, The 400 Unit. And nary a drum on this record. Nary a guitar solo, really, to hide behind. This is not blistering rock and roll, which we know he can do. This is...

Here's my heart, and here's every word enunciated. There's no mincing words here. And so it's a great display of his songwriting, of course, this many years into his career. You're like sleep, take what I can get But I've got to make some sense of this So hear the fuck I said At 3 a.m., I'm trying way too hard Find the words to slow my sweet addicted heart You're like sleep, can't get near enough

As just about any fan of Jason Isbell knows, it's following in the wake of his divorce from the also fantastic singer-songwriter Amanda Shires, who not only was his longtime life partner, but a member of the 400 unit and an extremely important aspect of his sound as an artist for many, many years now. And this record speaks directly to that experience.

There are songs that are directly reflecting on the dissolution of that relationship. There's also, I think, some of the best songwriting of his career. Don't be tough until you have to. Take your heartbreak on a chance.

I've been a fan of this guy for at least 25 years now, going back to his time in Drive-By Truckers. He wrote one of my favorite songs of the 21st century, a song called Outfit. And there's a track on this record called Don't Be Tough that for me feels like a perfect counterpart to the song Outfit more than 20 years later. Advice to his kid about how to live life and be a good person. And it is

a truly fantastic track. Don't be shitty to the waiter. He's had a harder day. Don't make babies stay up late just because they're so damn cute. Don't say love unless you mean. Don't say sorry unless you're wrong. Tell a story like you've seen it. Tell yourself that you

I earmarked that one too, Stephen. I think it's sweet. I mean, like it could be cheesy and like platitudes, except every line delivers, right? Like it is actually not just father to child. It's sort of stuff I've learned over time. And he has in the last couple of years, I mean, gosh, just two years ago is when the documentary about him so much focused on his marriage and making it through COVID was released. And this is evidence of like so much can happen in two years time. I feel like,

almost a little awkward and icky talking about it. So important are Jason and Amanda as a power couple in Nashville. This feels almost personal to the audience here that have watched both of them and now are having to see

where they go creatively and personally post-divorce. I will say a couple of the tracks, like you mentioned, that place us there in the wake of this long-term relationship ending were the absolutely gutting True Believer. Also, it was absolutely gutting to me, Gravel Weed. Let's hear a part of Gravel Weed here, the segment that just really says a lot. Is it I'm Sorry, The Love Songs, All Many Different Things Today? Yes.

It's in my notes. And even he introduces it, the concept of a gravel weed. I needed training up. I don't need that anymore. Basically, thank you for your service. I'm sorry the love songs all mean different things today.

That's like a weird double-edged lyric of like, dude, you owe her a lot. Yeah, I feel icky, like I said, but we can cut this. But yeah, so much of this, I mean, the true believer stuff, right? Yeah.

I was a true believer about love, about music, about loving and losing, but staying in the city. It is so real in these songs, as I said, because it was just recorded in five days on one guitar. There's no hiding here. It is all out, and he chose to talk not just about where he's come from, but where he's off to, which is falling in love again. All your girlfriends say I broke your fucking heart Like it, there's a letter

Thank you.

I can't wait to hear more of his music. I can't wait to hear more of Amanda Shire's music. They have been such treasures for so long. And I'm always hoping for the best for the musicians I love. I am not somebody who roots for my favorite musicians to have hard times so that they can write devastating music about it. I want you to write music about the wonderful times you're having. And if you're writing about hard times, I want you to fake it. You know, I want my favorite musicians to be happy.

I love my love, I love her mouth

I love the way she turns the lights off in her house. That's Foxes in the Snow from Jason Isbell. We've got some more great records to talk about on this wonderful release day, but first let's take a quick break. This message comes from Carvana. Sell your car the convenient way. Enter your license plate or VIN. Answer a few questions and get a real offer in seconds. Go to Carvana.com today.

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From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Celia Gregory from WNXP in Nashville. Celia, I hear tell WNXP started during the pandemic. Yeah, really great time to start a radio station when everybody's working from home and not listening in their car where radio still thrives.

No, but in all reality, yeah, end of 2020. What a great time to have a new passion project, which a few of us did in starting this station. And now we've just grown and been able to meet people where they are actually out, seeing live music and connecting the music makers with the radio listeners. It's been really, really fun over the last four years. And we celebrate our fifth this year. I know you host a morning show, but you're also doing stuff in that Sonic Cathedral space with live sessions. Yes, yes.

It has been the most fun to have touring bands and local artists alike come through and in some cases do really unique, like strip back sessions, right? Like Fontaine's DC, just two of them singing these songs. We'd never heard them like that and it lives on the internet forever. So I get to have really short discussions and timely discussions alongside those performances and that's one of my favorite roles here at WNXP.

I forget the thrill of lies, the truth escaping through the eyes. You use voices on the phone that once were spent on

If you have not checked out those Sonic Cathedral sessions on WNXP, I strongly encourage you to do so as somebody who sees a lot of Tiny Desk concerts. Well, next up, we've got a new record from Sasami. Sasami has a new album called Blood on the Silver Screen.

I love it.

I'm always running so I probably

So Sasami Ashworth got her start in the band Cherry Glazer, a fantastic pop band in LA. But Sasami ended up going solo a few years ago. This is her third album. And she is just kind of a musical polymath. She is a conservatory-trained French horn player. Her records have touched on everything from kind of classic indie pop to industrial and metal. She loves to kind of take

pop sounds and scuff them up in really interesting ways. This is kind of meant as her big pop swing. And at the same time, that creativity, that cultural omnivorousness is still feeding these songs.

Yeah, I have turned into such a pop girl in recent years. I think it's because there's so many really, truly great indie pop female artists right now. Right. Much like you have the Annie DeRusso and the Wednesday and the Horse Girl, like riffy female fronted bands. Sasami, this record is incredible.

kind of flawless in terms of sing-alongs, pop bangers, and yet, as you said, that classical training shines through. These aren't just boops and beeps, right? Like Stranger Things sounding synths, but then also the French horn, right? You get all of the training and the pop sensibility in one. This is a standout for me this year. I'm really obsessed with this record. When you talk about young pop singer-songwriters who are doing

kind of fascinating, cool, beautiful, intimate work, one of the people I would name is Claro. And Claro pops up on a song here called In Love With A Memory. ♪ To the endless highway ♪ ♪ Where we could talk all night ♪ ♪ Alone 'til the light ♪ ♪ These days I'm begging you to tell me why ♪ ♪ You just know what you are ♪ ♪ You can't go on just living in the memory ♪

In Love With A Memory, there's a gentler vibe to it. And coming off of her album from 2022, Squeeze, which incorporated all these sounds of industrial and metal music, where she actually toured that record with a metal band, it just speaks to her versatility and how comfortable she is bouncing around among wildly disparate genres while still always sounding like herself.

All good things must come to an end Don't cry, just come back to me Let me feel you one last time Before you say goodnight

I love that song with Claro for sure. And a huge radio hit for us because anything Claro touches, everybody's gobbling up, right? But it's a great collab between the two of them. The song I can't get enough of, Stephen, and is so in my head is Honey Crash. Oh, yeah. Sometimes when I get a little lonely

It has a really extra music video to it, too. It's very theatric. But what I love about Honey Crash is what you kind of just said. Coming out of the metal, it starts lower, darker, and then she gets in that upper register, and it's a pop banger. And it's both and in one song. So it's a little bit of a statement of how the record's going to sound because it bobs and weaves throughout different genres. Because you found someone in town And in your darkest hour

Even when the heart money crashing to me Like a storm into the sea Like a bird on a silver screen

Thematically, she's talked a little bit about having grown up in kind of a repressive environment and finding ways as an adult to kind of reclaim pleasure and reclaim who she is and who she wants to be and just how she wants to move through the world. And these are songs that are channeling those ideas and putting them in packages that are just extremely pleasing to the ear. Yeah.

When she emerged, she felt fully formed, but she is still finding ways to expand on what she was doing with her first couple records.

Yeah, I think she said this was supposed to be romanticism to the point of self-destruction. And I'm with that. I'm with it. Just throw your whole body and self into it. Also, not lost on me, that Honey Crash is actually Honey Crash Into Me. She's reclaiming Crash Into Me from Dave Matthews. It's a new generation. It's not copywritten. Like, you know, you can use that especially to go into this power ballad. I'm a silver screen

Also, the very swifty sounding Just Be Friends. Did you get that, Stephen? Like the impression of like, this is a sing-along that the profundity and how simple the lyrics are, which I think Taylor does very well, is at play here too. So she seems to be a great pop songwriter as well. I can dance across the line And I seem like I'm doing fine But I'm falling apart inside Stephen said kisses and leaves

I promise myself I never will ever run lonely I know that I've been selfish and I ended it the first time But maybe if it's different and we listen to the first I'm the one and that we're burning out Baby we can make it again We should just be friends

I hadn't made the Taylor Swift connection, though so many pop records definitely echo some of the things she's doing. And it's just wild to see Sasami, who is such a polymath, who is so willing to draw from anything, that on this record that is kind of tapping into some more mainstream sounds, that of course that would be in her toolkit as well. ♪

That's Blood on the Silver Screen from Sasami. Next up, we've got a band called Divorce. Divorce has a new album called Drive to Goldenhammer. If I had something with, I'd have left this slumber party. But I swallowed it discreetly. All your toys are so deluded. It's so honest, there's just no going lightly. Oh, Kim, I'm only here to be your friend. Oh, I...

I'm only here to make you all my freaks. Love that. Love it so much, Steven. You know, Twist My Arm, I'll play a British band on the radio in America. This has been a real fun thing to get these singles from Divorce. I feel like

They're from Nottingham in England. And actually our midday host happens to be from Britain. So we've got a lot of things that maybe we wouldn't have had our eyes and ears on from Jude. So shout out to Jude Mason. Now, this band, though, it's tickling all the same senses as like Last Dinner Party and riding that wave of somewhat theatric, but not too theatrical.

It's like flirting with the line of overwrought. It's like just wrought enough, you know? It is acceptably wrought. Acceptably wrought. And I mean that lyrically, but also musically. ♪

Yeah, hook this one to my veins. I had never heard of this band. I feel like my Google algorithm when I'm Googling divorce is probably like, oh no, buddy. Oh, buddy. And you're like, no, I don't need that anymore. Exactly. Divorce band, Divorce Nottingham. I really love that it's the, you know, the co-lead vogue. So you got the male and the female lead, which had a moment in the sort of folk Americana, you know, you know, the bands I'm referring to a time ago. But now you have this like sassy, like,

the Bug Club out of Wales and Bodega, I'm thinking, where it feels fun. It feels fun to have them trade off and then have close harmonies. And I think that's one of my favorite things about this band. It's so simple, but each song might have a different lead vocalist and then they mesh really well, like on Hangman, which I think is my favorite track on the record. I will shuffle through the mess. Let's play and begin again.

Yeah, Hangman is a great song. You know, you're mentioning all these new bands that are...

that are incorporating that kind of busy multi-vocalist sound. I was also getting echoes of the band Los Campesinos, which is a favorite band of mine, you know, where it's like wordy and clever and sometimes it's shouty and sometimes a song will feel like three different songs kind of like laid over each other where hooks give way to other hooks.

The opening track on this record, Antarctica, is such a stunning song, where you've got these little tinny drum machines all of a sudden giving way to voices that are just sparkling. I've got a long drive. Nothing much to think of but Antarctica. I'm thinking of you, honey. Oh, happy time.

Pull the wool over my eyes I'll try to knock it back Thinking of you It comes and goes Like someone pulling

These interlocking hooks, that is such a winning formula, but that is a really hard formula because it can sound like a giant clattering mess that is hurtling off the rails, and yet they're always able to keep these songs together. And so, you know, I just was, I kept being pulled back into this record. I was listening to it while I was kind of doing other things, and I kept having to stop and like, what?

let's hear that song again because I think I missed how great that song was. I think that's awesome you cited that about Antarctica. I thought the same thing about Pill where it's like multiple movements in the song and it shows to me and I know this is a music appreciation show but it can be really simple that you like a song for something very straightforward and there are songs on this like that just like kind of more direct riffy rock and roll but on a song like Pill they sound so darn musical.

It's interesting that you mention "Pill" because several of these songs have a little bit of a formula. They start in kind of a fragile way or a gentle way and then build up to something really stormy. "Pill" moves in the opposite direction where it starts out big and stormy and bombastic and then finds this kind of stately side of the band.

Either way, as a listener, you're staying locked in and being kind of dragged willingly through these different phases and shapes that these songs take. Yeah, I thought the same thing. We could geek out about just that one song for 20 more minutes because I thought it was a different song, right? I had to look and make sure, oh, this is a second part. And I just love when artists do that and stitch together different sounds so that you're taken on a journey within three and a half minutes. ♪

That's Divorce. Their new album is Drive to Goldenhammer. We have yet another great record to talk about as well as a lightning round of some of the other albums we couldn't get to this week. But first, let's take a quick break. ♪

From NPR Music, it's New Music Friday. I'm Stephen Thompson here with Celia Gregory from WNXP in Nashville. We want to talk about one more record. It's by a band called Estropical, a super group containing members of Bomba Estereo and Rawayana. The album is called Estropical. I want you to know that you're leaving with me and you're not going to come back. Without you, I'll be back. And without you, I'm not very well.

♪ ♪

Estropical contains members of Bomba Estereo, the Colombian party band, and Rawayama, the Venezuelan kind of beachy, wonderful genre-straddling band. Check out their tiny desk if you've never seen it. Together, Estropical is just put together.

putting out this wave after wave of big, summery, just friendly vibes. I felt the temperature in the room rise 10 degrees listening to this record. It's funny you said that because my very first note was the very first sound we hear is waves. And it's hard to consume a record in the winter that starts with the tropical vibes and not just feel so much lust for the beach. But what a great tone setter, right? At the top. ♪

No hay ley en la music

The last couple weeks I've referred to records this way where I'm like, this record feels like spring. I feel like this is spring. It's spring. Spring is happening. And it's like February 5th. Wishful thinking, yeah. But now it's March. You and I both live in cities that, you know, they have seasons. But, you know, I grew up in Wisconsin. Spring started in May. You know, here in the D.C. area, they're in Nashville. March, you're starting to get some spring. And this to me, like, I was like, should I put on shorts? Yeah.

Thanks, guys, for making us wear shorts too early. No, I mean, this is, it is a super group, right? And I know for, as a DJ, as a host, I can add Bomba Stereo to almost any set and uplift, and it fits. I mean, they just have it. And this other artist, you know, is new to me, but you're right, like, to weave them together, it's all good vibes, is what it is. ♪♪

Rawayana is really, really fun. And together you've got electropop and cumbia, you know, kind of coming together with other genres, all just kind of fed into this big shimmering swirl of joy. This kind of insistent dance pop throb in songs like "Liego el Verano," you know, which is so danceable. ♪ ♪

Am I wrong that there are also this sort of a concept record where every song has sort of an astrological sign? I think that that's clever and I think it's fun. And Una Noche en Caracas is really truly about having a great live music experience and meeting somebody and having this whirlwind evening. What could be more fun to explore in song than that very thing that's about musical connection?

♪♪ ♪♪

Just a reminder that it's a big, bright world out there, and for those of us who spend a lot of time in our houses, it's all waiting for us. ♪

That is the self-titled album from Estropical. It is a delight. If you'd like to know more about this ray of sunshine of a record, my dear colleague Isabella Gomez Sarmiento interviewed the lead singers of both Bomba Estereo and Rawayana for a feature on their collaboration on NPR.org. There's a link waiting for you in this episode's show notes. So old, this love, hang on.

There are a bunch of records out today we could not possibly get to them all. So we wanted to do a lightning round kind of summing up some of the other stuff that is exciting us. I'm going to kick us off with Jennie from Blackpink. All four members of Blackpink, the K-pop

I guess now you'd call it a super group, have major solo presences. Jisoo scored a huge global hit with the song Flower. Rosé has that song Apaté with Bruno Mars that's all over the top 10. Lisa put out an album called Alter Ego just last week. And now Jennie has a new solo record called Ruby. It's a mix of pop, dance music, and hip hop that certainly seems highly likely to extend Blackpink's massive collective winning streak.

My pick, Steven, is a record I've been highly anticipating. Spades is one of my favorite songs of the year so far from the Boston band Vundabar.

And first of all, fun to say, Surgery and Pleasure is the record. And it really also covers a lot of Sonic Ground. But they are a rock band through and through. We're actually doing a session with them at a record store. And I can't wait to see how they bring that to a small stage. But I just can't say enough about this band and the way they excite me. Because they're not new, but they're new to me with this batch of songs, including I Got Cracked, which is a great fun one to play on the radio. This is one of my picks of the week for sure. And I broke my heart and I spent some time

Can't stop laughing, got 50 lashes And I broke my jaw And I spread some lashes Peeling off all these fake eyelashes On your mouth

Bob Mould was the lead singer of the legendary rock bands Husker Du and Sugar. He's been putting out terrific solo records for more than 35 years now, dating back to the 1989 classic Workbook, which was big for me as a mopey teen. Along the way, he even recorded the theme song for The Daily Show, and now, more than a dozen solo albums later, he's got a new one. It's called Here We Go Crazy. Coin machine, it's just a smile in a world that's like a star.

Also being at it for decades and still pumping out the jams, Swerve Driver. I did not know until I looked at the full list, Steven, that they had a new EP coming out. It's called The World's Fair. And I think it rips. And I just want to point out the blind spot for me is a lot of this, uh,

Brit rock that was earlier than Oasis, but like not of my parents' generation, British Invasion either, right? Ouch! I love Swerve Driver. That hurts. That's what I mean. It's like this was just sort of when I came up, I didn't know about these bands unless you had a cool older sister or whatever. So I missed the ride, the slow dive, even the My Bloody Valentine, and you have to go back and

in history and learn about these bands, but not if they're making great new records. The entry point can be now is my point. And I'm so grateful that we still have Swerve Driver making music because I think this rips.

Finally, we're going to close out with something completely different, but also really lovely. The young British classical pianist, Jenna Bacani Mason, just released her first solo album. It's drawing from household name composers like Debussy and Chopin, but also shining a light on people like Margaret Bonds and William Grant Still. Do yourself a favor and file this one away for your Sunday morning cup of coffee. The album is called Fantasy that's spelled with an I-E.

And that is our show for this week. Thank you, Celia Gregory, for taking time out from your morning duties at WNXP. I am not jealous of your schedule to join us. You can hear Celia's excellent show every weekday morning in the NPR app. Just search for WNXP. Thank you, Stephen. I would love to go hard in the paint on five albums every week with you. As much prep as it was. Wow, what a fun time to get so nerdy about music. Thanks for having me.

It is such a pleasure, Celia. We will have you back ASAP. You have been fantastic. 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 Rentner and edited by Otis Hart. The executive producer of NPR Music is Saraya Mohamed, and her boss is Keith Jenkins, NPR's vice president of music and visuals.

We'll be back next week to talk about new albums from Charlie Crockett and many more with Matt Riley of Austin, Texas public radio station KUTX. Until then, take a moment to be well, take a walk, and treat yourself to lots of great music.

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