This is The New Yorker Radio Hour, a co-production of WNYC Studios and The New Yorker.

This is the New Yorker Radio Hour.

I'm Amanda Petrusich.

I'm a staff writer for the magazine where I write mostly about music.

And I'm David Remnick.

Being in quarantine has been, for me, a really great

time to listen obsessively, carefully, slowly to music. David, have you found any new music that's

been sticking with you? Does the new Bob Dylan album count as new music? I think there's a four-hour

song on there that I've listened to 25 times. But other than that, no kidding,

I've been listening to a lot of old soul music, which seems to kind of, I don't know,

lift me up out of the slough of despond. I understand that. That music's perfect for that. And I too

have been really deep into that Dylan record. I mean, it feels like it arrived at kind of the precise right moment.

I suspect, you know, a century from now

will be going through some other comparable revolution,

and somehow a Dylan album will appear then to soundtrack that moment, too.

You see, wait a minute, boys, you know how I am.

Are you hearing any music that's been recorded since the pandemic hit, or is it too early for that?

Well, I think those records are starting to appear. In May, the British singer Charlie X-EX

released a new record called How I'm Feeling Now, which she recorded entirely in quarantine at her

home studio in Los Angeles.

And, you know, she makes what sometimes gets called hyperpop or futuristic pop,

this very kind of synth-driven, really propulsive, kind of glitchy production.

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