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Hear sneak previews of new music from Beck, Randy Newman, solo work from Conor Oberst of Bright Eyes, Kimya Dawson (the singer behind the Juno soundtrack), The Hold Steady, Missy Elliott, and more.

The spare, haunting melodies of composer and pianist Erik Satie have inspired musicians, from Claude Debussy to guitarists Jonathan Stone and Adrian Bond, who perform his music in NPR's studio.

Jazz critic Kevin Whitehead reviews Like Before, Somewhat After, the new recording from drummer George Schuller and his quintet Circle Wide. The disc salutes the music of pianist Keith Jarrett's '70s-era quartet.

Jonathan Poneman, co-founder of Sub Pop, presents five of his favorite songs from the label's vast catalog and gives a little history behind Seattle's early music scene.

Despite the breakup of singers Cesar Alvarez and Sammy Tunis, the pair practically radiates chemistry in The Lisps' fun sing-along "Ann Marie," while drummer Eric Farber and bassist Jeremy Hoevenaar match their energy beat for beat.

Kathy O'Connell, of WXPN's Kids Corner, showcases songs from five of her favorite new family music releases. Her picks include releases by Ralph's World, Barenaked Ladies, and Justin Roberts.

The increasingly iconic Brooklyn rock band shook up a full house at WXPN in Philadelphia on May 30, performing old favorites and a handful of new tunes from the forthcoming Stay Positive.

Saxophonist James Carter says he titled his new album Present Tense because "it captures where I am now." The album features Victor Lewis on drums, D. D. Jackson on piano and Dwight Adams on trumpet. Jazz critic Kevin Whitehead offers a review.

The title of British Sea Power's new album (Do You Like Rock Music?) feels like an invitation rather than a question: Judging from the album's contents, the answer had better not be no. "Lights Out for Darker Skies" dispenses anthemic power chords without skimping on the complexities.

The U.K. duo's laidback gospel twang is shrouded in a misty fog that favors long shadows over bright sunshine, and trades the wide-eyed innocence of the '60s for a wearier worldview. "Lucy Rider" sounds a bit like Neil Young haunted by the ghosts of his own demons.