“There’s a thrill in trying to pull something out of thin air and make it real,” says Pete Yorn. “The imperfections, the chase, the intimacy—that’s where all the beauty is.”

Yorn delivers more than just thrills on his stunning new album, All The Beauty, offering up a revelatory meditation on growth, change, and the passage of time as he learns to find peace in appreciating the present moment. Recorded and co-produced with longtime collaborator Jackson Phillips (aka Day Wave), the album expands on the lush textures and raw emotion of the pair’s first two releases, completing the trilogy with a luminous, deeply perceptive mix of cathartic rockers and late-night ruminations. Yorn’s writing is at once direct and abstract here, often addressed to himself but riddled with piercing, existential questions, and his delivery is probing to match, urgent and insistent as it explores the open wounds of doubt, longing, and regret in a search for genuine human connection. The result is an album all about evolution, memory, and perspective, about letting go of the past, making room for the future, and loving each other—and ourselves—in a world full of messy contradictions.

“You look around and there’s so much beauty,” Yorn explains, “but at the same time, there’s so much pain and tragedy happening everywhere all at once. Balance comes with acknowledging both. The world can feel pretty bleak if you let it, but I think making this record was partly about choosing to notice the beauty anyway.”

Hailed as “one of his generation’s best songwriters” by SPIN, Yorn first broke out in 2001 with his extraordinary Columbia Records debut, Musicforthemorningafter, which mixed the blue-collar introspection of fellow New Jersey native Bruce Springsteen with the deadpan stream-of-consciousness of Lou Reed and the jangling guitar-pop of The Smiths. NPR lauded the album as one the year’s finest, while Rolling Stone hailed it as “atmospheric, gently lit by sunlight and regret,” and the collection garnered RIAA Platinum certification on the strength of its universal acclaim, as well as Yorn’s relentless appetite for the road. In the decades that followed, Yorn would go on to solidify his status as a true songwriter’s songwriter, releasing eight more critically-acclaimed solo albums, landing nine Top Ten hits at AAA radio, and collaborating in the studio with everyone from Frank Black and Peter Buck to Liz Phair and Scarlett Johansson (Yorn and Johansson’s joint 2009 release, Break Up, achieved Platinum certification in France). With a voice Consequence of Sound described as “ruined and forlorn,” Yorn earned television performances on Letterman, Fallon, Kimmel, Ellen, Good Morning America, and more, as well as dates with artists as varied as R.E.M., Coldplay, My Morning Jacket, and The Chicks, and festival slots from Coachella and Bonnaroo to Glastonbury and Austin City Limits. In 2023, he made his big-screen debut appearing in Martin Scorcese’s Killers Of The Flower Moon alongside Jason Isbell and Jack White.

“I started making records almost thirty years ago, when I was basically still a kid,” Yorn recalls. “Back then, a lot of it came from imagination, from wondering what certain things might feel like. Now, I’m a father who’s lived so much more life, who’s been through some real highs and lows. I’m still writing from instinct, but everything’s informed by those real experiences.”

Some of those recent experiences—like losing his father, navigating his way through anxiety and depression, facing down a health scare, and getting sober—seemed like more than Yorn could handle in the moment, but in retrospect, they helped snap things into focus.

“If my last album, The Hard Way, was about going through the fire, then this one’s about appreciating what I have now that I’m on the other side,” Yorn explains. “It’s about finding gratitude for the moments that make us human, even when it hurts.”

Indeed, All The Beauty always manages to find some measure of peace, even in the midst of emotional turmoil. Album opener “Never Said No” sets the scene with a swaggering, guitar-driven groove as Yorn refuses to take the bait in a combustible relationship. “I think about you from the safety of my room,” he confesses. “I never thought we’d be here again.” Like so much of the album, the track is propelled by tension in search of release, by pressure in need of relief. “I don't wanna talk about what we used to do / And how things were better in the old days,” Yorn sings on the captivating title track. “I just wanna live this moment here with you / And not miss all the beauty of this place."

“It’s easy to be so focused on nostalgia or anticipation that you don’t see what’s right in front of you,” he reflects. “There’s something magical about knowing you’re in a meaningful moment while it’s happening, about being fully present for it.”

True presence, however, requires making room for pain and vulnerability, too. The bittersweet “All The Time” grapples with the discomfort of uncertainty and self-doubt, while the wistful “Mine To Call” reaches out for stability in unsteady times, and the dreamy “Magic (Helpless)” comes to terms with our emotional limitations. “If I had a magic wand I’d wave it for you,” Yorn sings over an 808 kick drum and looping guitar line. “I feel so helpless / I won’t remember this.”

“There are times when you want to fix something or help someone and you just can’t,” he explains. “The ‘magic wand’ idea is simple, almost childlike. If I could make it go away, I could, but that’s just not how the world works.”

Yorn frequently finds himself face to face with powers beyond his control on the album. The yearning “Trains” acknowledges that we can’t stop the inevitable; the hazy “Out Of My Head” struggles to shake a memory that won’t let go; “The Same Lie” spins out in an endless, hypnotic mental loop; and the shimmering “Estate” wrestles with the weight of dependence.

“There’s only so much waiting you can do, so much counting on other people to move things forward,” Yorn explains. “Slowly, you start to understand that you’re going to have to do that yourself.”

Ultimately that realization is at the heart of All The Beauty. By the time the record reaches its final act, Yorn has let go of all the “shoulds” and “coulds” in favor of savoring things as they really are. The cinematic “Idyllwild” sees joy and connection as it’s happening (“There’s no place / I’d rather be / I hope I keep these memories”), while lo-fi album closer “Everything” repeats the line “I love everything about you” over and over like a mantra.

“It’s a meditation on surrender,” he explains. “After the journey of all these songs, after wrestling with control and doubt and trying to fix everything, it just lands on surrendering to love and the realization that, in the end, maybe that's all that there is.”

For Pete Yorn, there’s nothing more thrilling—or more beautiful—than that.