{"title":"68th GRAMMYS","description":"","products":[{"product_id":"the-marias-cinema","title":"Marias, The - Cinema","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe full-length debut of the Marías -- singer María Zardoya, drummer\/producer Josh Conway, and band -- Cinema is appropriately named not only for its expansive, retro-tinged psych-soul-bossa pop; the album was directly inspired by the core duo writing music together for films. A slinky highlight, the cautionary \"Hush,\" has a video that was influenced by directors Pedro Almodóvar and Wes Anderson. Both sleek and sophisticated throughout, Cinema's nocturnal tone is guided by Zardoya's seductive, sighing vocals, which slide between English and the occasional Spanish (as well as French) as seamlessly as the ephemeral tracks are well-suited for the club, car, or headphone listening.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA1        Just A Feeling    1:22\u003cbr\u003eA2        Call U Back    3:19\u003cbr\u003eA3        Hush    3:01\u003cbr\u003eA4        All I Really Want Is You    3:11\u003cbr\u003eA5        Hable Con Ella    0:33\u003cbr\u003eA6        Little By Little    2:58\u003cbr\u003eA7        Heavy    4:13\u003cbr\u003eB1        Un Millón    2:47\u003cbr\u003eB2        Spin Me Around    2:26\u003cbr\u003eB3        The Mice Inside This Room    4:08\u003cbr\u003eB4        To Say Hello    3:22\u003cbr\u003eB5        Fog As A Bullet    2:57\u003cbr\u003eB6        Talk To Her    5:26\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":43655559971016,"sku":"","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/51NfS93SP7L._SL1425.jpg?v=1715128374"},{"product_id":"marias-the-submarine","title":"Marias, The - Submarine","description":"\u003cp class=\"preFade fadeIn\"\u003e\u003cstrong\u003eULTRA CLEAR VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"preFade fadeIn\"\u003eReturning with an even more cinematic version of their smooth and seductive, retro futuristic narco-pop, the Marías (singer María Zardoya and drummer\/producer Josh Conway, with Jesse Perlman and Edward James) follow up their Billboard 200-charting debut, Cinema, with the thematically lonelier, breakup-informed Submarine. Across its 14 tracks, squishy, fanciful synths tones, warped guitars, and midtempo dance beats underscore breathy cravings for and remembrances of an absent partner. The bilingual Zardoya again sticks mainly to English here, with the exception of the smoky \"Lejos de Ti\" (\"Away from You\") and more Latin-flavored \"Ay No Puedo\" (\"Oh I Can't\"), although lyrics don't matter nearly as much as performance on an album that exudes come-hithers through beguiling, sighing phrasing more than with words (although those do read like valentines). Submarine effectively mesmerized American audiences, marking the duo's debut in the Billboard 200 Top 20.\u003c\/p\u003e\n\u003cp class=\"preFade fadeIn\"\u003eA1        Ride    1:21\u003cbr\u003eA2        Hamptons    3:08\u003cbr\u003eA3        Echo    3:29\u003cbr\u003eA4        Run Your Mouth    2:40\u003cbr\u003eA5        Real Life    3:27\u003cbr\u003eA6        Blur    3:45\u003cbr\u003eA7        Paranoia    3:52\u003cbr\u003eB1        Lejos De Ti    3:00\u003cbr\u003eB2        Love You Anyway    3:57\u003cbr\u003eB3        Ay No Puedo    3:02\u003cbr\u003eB4        No One Noticed    3:57\u003cbr\u003eB5        Vicious Sensitive Robot    3:14\u003cbr\u003eB6        If Only    2:36\u003cbr\u003eB7        Sienna    3:45\u003c\/p\u003e\n\u003c!----\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":43748085137608,"sku":"","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/710EmZPHV4L._SL1425.jpg?v=1769128067"},{"product_id":"cure-the-songs-of-a-lost-world","title":"Cure, The - Songs of a Lost World","description":"\u003cp\u003e\u003cstrong\u003eBIOVINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSongs of a Lost World, the 14th studio album from the Cure, might just be unprecedented. The statistical circumstances surrounding the album are unique: this is the first completely new material from an indescribably influential band in 16 years, arriving about five years after it was initially scheduled, and after the group had been regularly playing some of the songs at their consistently popular concerts for years. It's not the typical release schedule, even for a legacy act, but somewhere in the history of rock music there might be an exact analog. What really makes Songs of a Lost World atypical is how great it is. The eight songs that make up the album aspire to and often reach the same slow-moving grandeur of the Cure's high-water mark album, 1989's Disintegration, only without any of the playful pop that snuck into that record and propelled the band's biggest singles. Themes of loss, isolation, impermanence, and mortality are all translated into Robert Smith's signature melodic melancholia, all of it delivered in deep, drawn-out, sweeping movements. The nearly seven-minute opener \"Alone\" sets the pace, with dense swirls of synths, simple, pounding drums, and the kind of lengthy building intro that the band perfected on some of their best songs. It's a solid three minutes before Smith starts singing, but the arrangement has forgotten about time by that point, creating an atmosphere that's hard not to get lost in. This atmosphere sustains for the album's duration. There are some spikes in energy like the tormented grooving of \"Drone Nodrone\" or the cinematic drive of \"All I Ever Am,\" but even these outbursts don't stray too far from the concentrated whole that the album presents. The general path SoaLW takes is consistent throughout, whether manifesting as the creaky pump organ chords that begin the aching \"Warsong\" or the bittersweet collision of auburn-hued string arrangements and crunchy alt-rock guitars on \"And Nothing Is Forever.\" Closer \"Endsong\" takes its time hammering the album's overarching feeling home with a ten-minute runtime that echoes peak moments of slow, sad beauty from the group's decorated past. This is the first Cure album written and arranged solely by Smith since 1985's The Head on the Door, and there's a similar color to the solitude he explores here. It's a win against slim odds that the band would make a solid, listenable album almost 50 years in, and with almost 20 of those passing since their last new set of songs. Songs of a Lost World isn't just an album of unlikely listenability, though. It's a new chapter late in the game so unexpectedly powerful that it's nothing short of stunning, and just as unexpectedly, it ranks among the band's best work.\u003c\/p\u003e\n\u003cp\u003eA1        Alone\u003cbr\u003eA2        And Nothing Is Forever\u003cbr\u003eA3        A Fragile Thing\u003cbr\u003eA4        Warsong\u003cbr\u003eB1        Drone: Nodrone\u003cbr\u003eB2        I Can Never Say Goodbye\u003cbr\u003eB3        All I Ever Am\u003cbr\u003eB4        Endsong\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44157386588360,"sku":"","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/91XxUnqA1KL._SL1500.jpg?v=1730578110"},{"product_id":"fred-again-ten-days","title":"Fred Again - Ten Days","description":"\u003cp\u003e\u003cstrong\u003eWHITE VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTen Days follows in the direction of Grammy-winning superstar producer Fred again..'s Actual Life series, incorporating audio snippets from friends, chance encounters, and other sound sources into his wistful, highly collaborative dance tracks. Short, numbered interludes, often drunken singalongs or muddled messages, alternate between proper songs, letting intimate moments set the stage for radio-friendly anthems. \"adore u,\" a bouncy, tropical-tinged tune featuring Obongjayar that became Fred's first Top Five-charting U.K. pop hit, is placed as the album's first proper song, though other charting singles, including collaborations with Baby Keem, Lil Yachty, Overmono, and Flowdan, are left out, having been included on updated editions of the rolling compilation USB. \"ten,\" a follow-up hit featuring Jozzy and Jim Legxacy, has a more engaging melody and more inventive production. The album gets more surprising as it continues, with SOAK delivering a moving, introspective spoken word performance on \"just stand there,\" Anderson .Paak and CHIKA flowing over the drum'n'bass roller \"places to be,\" and perhaps the biggest head-turner in the track listing, country legend Emmylou Harris guesting on the rustic, atmospheric \"where will i be,\" an interpolation of the opening track from the Daniel Lanois-produced masterwork Wrecking Ball. The album's centerpiece is \"glow,\" an effervescent, seven-minute progressive house epic co-produced by Duskus, Joy Anonymous, and Fred's frequent stage and studio partners, Four Tet and Skrillex. \"backseat\" (featuring the Japanese House) gives a posthumous production credit to San Francisco breakbeat pioneer Scott Hardkiss, and it channels the '90s West Coast rave sound in the context of Fred's standard style of densely produced, bittersweet dance-pop. More or less what fans would expect from a Fred again.. album at this point, Ten Days is a diaristic emotional whirlwind with a handful of highlights.\u003c\/p\u003e\n\u003cp\u003eA1        Adore U\u003cbr\u003eA2        Ten\u003cbr\u003eA3        Fear Less\u003cbr\u003eA4        Just Stand There\u003cbr\u003eA5        Places To Be\u003cbr\u003eA6        Glow (Part 1)\u003cbr\u003eB1        Glow (Part 2)\u003cbr\u003eB2        I Saw You\u003cbr\u003eB3        Where Will I Be\u003cbr\u003eB4        Peace U Need\u003cbr\u003eB5        Backseat\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44187390116040,"sku":"","price":41.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/a0591888117_10.jpg?v=1769711200"},{"product_id":"rufus-du-sol-inhale-exhale","title":"Rufus Du Sol - Inhale\/Exhale","description":"\u003cp\u003e\u003cstrong\u003e2xLP DIFFUSED GREEN VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOnce again blending introspective pop with euphoric dance grooves, RÜFÜS DU SOL deliver their fifth full-length album, 2024's Inhale\/Exhale. Originally hailing from Sydney, Australia, the trio of singer\/guitarist Tyrone Lindqvist, keyboardist Jon George, and percussionist James Hunt have spent much of their career living and recording in Los Angeles. Following 2021's Surrender they each found themselves living in different California cities, with Lindqvist in Ojai, George in Topanga, and Hunt in Venice. Along with drawing renewed inspiration from their varied coastal and valley environs, the group reconnected for Inhale\/Exhale, convening over several two-week-long recording sessions in places like Austin and Ibiza. The result is an album of breezy, sun-soaked anthems, bookended by the title tracks, that find RÜFÜS DU SOL further combining emotive pop hooks with electronic house music uplift.\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44286583668936,"sku":"","price":56.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/81CORkRrd0L._UF1000_1000_QL80.jpg?v=1770768066"},{"product_id":"kendrick-lamar-gnx","title":"Kendrick Lamar - GNX","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn 2024, we got to see Kendrick Lamar in real time. The Compton native wasn't descending from the mountain to deliver shrouded statement pieces and orchestrated opuses -- he was battering Drake in lived hours, \"put[ting] one hundred hoods on one stage,\" headlining America's most celebrated sporting event. Capping the year off with a focused set of West Coast scorchers, his surprise sixth set, GNX, sees the rapper embrace being the moment; this is lightning-in-a-bottle Kendrick.\u003c\/p\u003e\n\u003cp\u003eGNX's first order is to yank rap back to its regional roots: the album's sound is as L.A. as \"California Love\" or a Toddy Tee cassette. The driving heart of the record is the regional bounce retooled for \"Not Like Us,\" which forms the anthemic trinity of \"squabble up,\" \"hey now,\" and \"tv off.\" With the stamp of authenticity -- \"teleport to Bullets Road and dig up all my relatives\" -- he digs sparse, fresh tracks through the sound alongside the unlikely Jack Antonoff; \"hey now\" captures the ghost of a stadium roar, \"gnx\" upturns its off-kilter pianos and basses, and \"wacced out murals\" plays like the child of Yeezus with metallic sirens and ravenous silences. Kendrick, running in tandem with a pack of L.A. up-and-comers, speaks with the chest-fire abandon of his city, firing off at will while still leaving room for the reflective \"heart pt. 6\" and \"gloria.\" If Mr. Morale postured Kendrick in absolution -- \"I am not your saviour\" -- then GNX is a staggering rekindling of the \"King Kunta\" flame: \"Who put the West back in front of shit? Tell 'em Kendrick did it\" he spits on \"gnx,\" before inviting Peysoh and Hitta J3 up to bat. He's \"prophetic\" and \"the greatest of all time\" -- a visioned torchbearer for the culture.\u003c\/p\u003e\n\u003cp\u003eAnd he's not the only one to feature here. On \"reincarnated,\" Kendrick continues his storied engagement with the figurehead of Tupac Shakur, wearing the rapper's vocal style like a spiritual shawl over a flip of \"Made N*****\" as he slots his soul into the lives of Billie Holiday and John Lee Hooker. Deyra Barrera's searching vocal snippet -- the project's conceptual through-line -- seats Kendrick next to Anita Baker; there are eyebrows raised at Lil Wayne and Snoop, harmonic connections with SZA, and memories of wanting to flow like Soulo. And for every face named there's another unspoken -- new flows from Drakeo and Keek, the blueprints of Nipsey and Mac Dre, the spirit of Nas on the \"One Mic\"-like \"man at the garden.\" It seems little coincidence that the concept of the album revolves around a black Buick GNX -- itself a literally \"black\" icon.\u003c\/p\u003e\n\u003cp\u003eEven when he's basking in triumph, Kendrick proves as complex as the present moment. Building a DAMN.-like skeleton from the kindlings of \"The Heart Pt. 5,\" GNX is a pillar of reflective realness, a flag planted in the lineage of Black musical visionaries, a silhouette of the West Coast in the high beams of fame -- and Kendrick's most speaker-knocking set to date.\u003c\/p\u003e\n\u003cp\u003eA1    Kendrick Lamar–    Wacced Out Murals    5:17\u003cbr\u003eA2    Kendrick Lamar–    Squabble Up    2:38\u003cbr\u003eA3    Kendrick Lamar \u0026amp; SZA–    Luther    2:58\u003cbr\u003eA4    Kendrick Lamar–    Man At The Garden    3:53\u003cbr\u003eA5    Kendrick Lamar–    Hey Now  3:38\u003cbr\u003eA6    Kendrick Lamar–    Reincarnated    4:36\u003cbr\u003eB1    Kendrick Lamar–    TV Off  3 :41\u003cbr\u003eB2    Kendrick Lamar–    Dodger Blue  2:11\u003cbr\u003eB3    Kendrick Lamar–    Peekaboo  2:36\u003cbr\u003eB4    Kendrick Lamar–    Heart Pt. 6    4:52\u003cbr\u003eB5    Kendrick Lamar–    GNX  3:14\u003cbr\u003eB6    Kendrick Lamar \u0026amp; SZA–    Gloria    4:48\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44304574185672,"sku":"","price":39.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/kendricklamar-gnx_1800x1800_4b0cac7d-5959-4bfb-ba74-d072646c99a0.jpg?v=1738879095"},{"product_id":"lola-young-this-wasnt-meant-for-you-anyway","title":"Lola Young - This Wasn't Meant For You Anyway","description":"\u003cp\u003e\u003cstrong\u003eAVAILABLE IN 2 VARIANTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1        Good Books    4:14\u003cbr\u003eA2        Wish You Were Dead    3:14\u003cbr\u003eA3        Big Brown Eyes    3:38\u003cbr\u003eA4        Conceited    3:59\u003cbr\u003eA5        Messy    4:44\u003cbr\u003eB6        Walk On By    3:32\u003cbr\u003eB7        You Noticed    4:30\u003cbr\u003eB8        Crush    3:46\u003cbr\u003eB9        Fuck    2:44\u003cbr\u003eB10        Intrusive Thoughts    2:31\u003cbr\u003eB11        Outro    1:13\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Clear Translucent","offer_id":44517109268680,"sku":"","price":44.99,"currency_code":"USD","in_stock":true},{"title":"Red Translucent","offer_id":44517109301448,"sku":"","price":44.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/91XgKvBwy-L._AC_SL1500.jpg?v=1740254459"},{"product_id":"lady-gaga-mayhem","title":"Lady Gaga - Mayhem","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL WITH ETCHED D-SIDE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBilled as an embrace of chaos, pop chameleon Lady Gaga dispenses with a focused theme for her seventh mainline album, the aptly titled MAYHEM. There are no jazzy showtunes, Nashville dive bars, or cleansing club euphoria. Spiritually and sonically, MAYHEM returns Gaga to her roots, those early days when she truly let her freak flag fly. In that regard, this is a welcome gift. MAYHEM is not a retread, nor is it a retreat to a safe zone, it's an inventive resurrection of an edgy approach and outsider aesthetic that helped launch her into the pop annals as the premier star of her generation. Despite this embrace of a supposed unstructured approach, the album flows in a logical sonic manner, being front-loaded with highlights before easing into competent pop gems and ending with confident, vulnerable love songs. Gaga had mentioned that one of the album's influences was industrial music and, in particular, Nine Inch Nails. That inspiration is heard on the first half, starting with the pulsing rocker \"Disease,\" the official first taste of the LG7 era. Then the listener is hit with \"Abracadabra,\" hands down one of the best songs in Gaga's catalog. The wild throb, dancefloor urgency, and heavenly bridge are a primal thrill (as is the viral music video) and clear throwbacks to her Fame Monster\/Born This Way peak. \"Garden of Eden\" mashes the early 2010s electroclash sound with a pure, melodic chorus, sounding like something that could have been on Christina Aguilera's underrated Bionic. As if her line about \"nine-inch heels\" didn't make her point, the digital squall in the outro cements the NIN-fluence, carrying into the dark \"Perfect Celebrity,\" one of the album's many musings on Gaga's internal struggles. Here, the set injects some meaty funk into the mix, as heard on the squelching jam \"Vanish Into You,\" which could have easily been on The Fame. Highlight \"Killah,\" one of the collaborations with Gesaffelstein, struts like St. Vincent or Trent Reznor taking their own crack at Bowie and Prince. MAYHEM keeps it funky with the sparkling disco gem \"Zombieboy\" (named after the late dancer from her \"Born This Way\" music video) before shifting to effortless pop anthems (\"LoveDrug\" and \"Shadow of a Man\") and midtempo fare (\"The Beast\" and her engagement ode \"Blade of Grass\") on the back half. MAYHEM closes with the global smash \"Die with a Smile,\" her simple but sublime duet with Bruno Mars that will prove to be one of Gaga's most timeless, classic tunes. While not as disorderly or tumultuous as the title suggests, MAYHEM is definitely untethered by genre rules. Beyond that, it's simply an embrace of freedom, which has allowed Gaga to simply do whatever she wanted without sticking to a rigid \"vibe.\" That ultimately makes this a breath of fresh air in her catalog. It may not be an instant classic, but it's still clear that no one can do it like Gaga.\u003c\/p\u003e\n\u003cp\u003eA1        Disease  3:50\u003cbr\u003eA2        Abracadabra  3:45\u003cbr\u003eA3        Garden Of Eden  4:00\u003cbr\u003eA4        Perfect Celebrity  3:49\u003cbr\u003eA5        Vanish Into You  4:06\u003cbr\u003eB1        Killah  3:31\u003cbr\u003eB2        Zombieboy  3:35\u003cbr\u003eB3        Lovedrug  3:14\u003cbr\u003eB4        How Bad Do U Want Me  3:59\u003cbr\u003eB5        Don't Call Tonight  3:47\u003cbr\u003eC1        Shadow Of A Man  3:21\u003cbr\u003eC2        The Beast  3:56\u003cbr\u003eC3        Blade Of Grass  4:18\u003cbr\u003eC4        Die With A Smile  4:11\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44474823573704,"sku":"","price":49.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/539452793e6de6da526147ac178c316bd6aab663-3767x3758.png?v=1770767913"},{"product_id":"bon-iver-sable-fable","title":"Bon Iver - Sable, fABLE","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBon Iver’s three-song collection SABLE, was a prologue mired in darkness, a controlled burn clearing the way for new possibilities. fABLE is the book that follows. Where SABLE, was a work of solitude, fABLE is an outstretched hand. Radiant, ornate pop music gleams around Vernon’s voice as he focuses on a new and beautiful era.\u003c\/p\u003e\n\u003cp\u003eOn every song, his eyes are locked with one specific person. It’s love, which means there’s an intense clarity, focus, and honesty within fABLE. It’s a portrait of a man flooded and overwhelmed by that first meeting (“Everything Is Peaceful Love”). There’s a tableau defined by sex and irrepressible desire (“Walk Home”). This is someone filled with light and purpose seeing an entire future right in front of him: a partner, new memories, maybe a family. There’s something undeniably healing about infatuation. Cleaving to someone else can feel like light pouring in from a door that’s suddenly swung wide. But there’s a reason SABLE, is of a piece with fABLE; the shadow still rears its head in lighter times. Even when you’ve reached a new chapter, you’ll still find yourself back in your own foundational muck. A fable isn’t a fairytale. There’s good stuff: unbridled joy and trips to Spain. But fables aren’t hinged on happy endings; they’re here to instill a lesson.\u003c\/p\u003e\n\u003cp\u003eAs the album winds to a close, he acknowledges the need for patience and a commitment to put in the work. There’s a selfless rhythm required when you’re enmeshing yourself with another person. The song—and by extension the entire album—is a pledge. 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The Tampa dynamo doesn't just daringly reference the pop-R\u0026amp;B smash on the tape, she makes it the basis of \"Boom Bap,\" quoting its title nine times as she mocks those who expect her to be Trina more so than Kelly Rowland. From the blown raspberries to the screams of \"I'm everything!,\" it's a comic and brilliant act of contrarian autonomy. Rest assured, there's plenty of rappity rap-rap on Alligator Bites as Doechii lays bare her paradoxical qualities -- declarations of dominance, examinations of self-doubt, both the pressures and exploits of her fame brought to light -- in vivid style. Her microphone control and wordplay are in top form on \"Nissan Altima,\" a swift and booming track where the self-dubbed \"trap Grace Jones\" alternately motivates and intimidates with belligerent verses that include a shrugging note of her replacement of a man with a woman. The humorous if vulnerable \"Denial Is a River\" is storytelling on the level of MC Lyte and Slick Rick with late-'80s production touches to match. She's just as effective making stealth moves over a lithe bassline on \"Bullfrog,\" her delivery both winding and precise. 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Of course, her year-defining hit, “APT” -- which became the sixth-fastest music video to break 300 million views in YouTube history -- is nestled neatly in the album’s center, an intoxicating, drinking game-inspired hit anchored by its central chant of “아파트” (“apartment”).\u003c\/p\u003e\n\u003cp\u003eRosé –    Number One Girl    3:36\u003cbr\u003eRosé –    3am    2:34\u003cbr\u003eRosé –    Two Years    2:47\u003cbr\u003eRosé –    Toxic Till The End    2:36\u003cbr\u003eRosé –    Drink Or Coffee    2:13\u003cbr\u003eRosé, Bruno Mars–    Apt.    2:49\u003cbr\u003eRosé –    Gameboy    2:46\u003cbr\u003eRosé –    Stay A Little Longer    4:06\u003cbr\u003eRosé –    Not The Same    3:04\u003cbr\u003eRosé –    Call It The End    2:21\u003cbr\u003eRosé –    Too Bad For Us    3:56\u003cbr\u003eRosé –    Dance All Night    3:34\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44503254597832,"sku":"","price":31.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/rose-rosie-band-cover.png?v=1770768255"},{"product_id":"wet-leg-moisturizer","title":"Wet Leg - Moisturizer","description":"\u003cp\u003e\u003cstrong\u003eAVAILABLE IN TWO VARIANTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003emoisturizer is the bold, second album from Wet Leg, the Isle of Wight five-piece founded by Rhian Teasdale and Hester Chambers. Joined by Ellis Durand, Henry Holmes, and Joshua Mobaraki, Wet Leg has spent the past few years on the road, evolving into a feral, electrifying live force. This new record captures that energy, delivering a sound that’s tighter, bolder, and more self-assured, yet still brimming with the same quick wit and raw, unrefined energy.\u003c\/p\u003e\n\u003cp\u003eIsolated in a remote house in the countryside, moisturizer was written in a creative frenzy, diving into themes of obsession and all-consuming love. While their 2022 debut earned Grammy wins and chart-topping success, moisturizer brings the bite: brash guitars, heavy beats, and a fearless devotion to feeling everything—all at once.\u003c\/p\u003e\n\u003cp\u003eWith the addition of longtime touring members Henry Holmes, Ellis Durand, and Josh Mobaraki to the lineup, Wet Leg are no longer just the cheeky duo of Hester Chambers and Rhian Teasdale. On Moisturizer, they're a full-fledged band in the business of making full-fledged albums, not just virally catchy singles like \"Chaise Longue.\" They still excel at that, though: \"Catch These Fists,\" a spiky anthem for anyone who's been harassed at a club when all they wanted to do was dance with their friends, is the album's most typical Wet Leg moment. They discover new shades of sass on the scornful strut of \"Mangetout,\" where Teasdale's delivery of lines like \"Good job\/Give you an A\" lands like a withering eye-roll. More often, Wet Leg let their bravado slip. As anyone who prides themself on being independent knows, trusting someone with your heart can be terrifying. On Wet Leg, the band compared being in love to sickness; on Moisturizer, they fight those feelings, give in to them, and ultimately realize how great love can be with the right person. Their deadpan vocals and frenzied playing capture this emotional sea change perfectly, mirroring feelings that can no longer be suppressed. Siren-like synths and surging riffs accompany Teasdale's breathless confessions on \"CPR,\" which depicts love as an emergency that's half panic, half euphoria. Teasdale, Chambers, and company may be head over heels, but they haven't lost their tongue-in-cheek attitude. There's still an edge to heartfelt moments like Chambers' \"Pond Song,\" and when they daydream about someone special on \"Liquidize,\" their inimitable cool is intact. Wet Leg's expanded lineup also lets them stretch their sound to express the different flavors of love. \"Pillow Talk\" stage dives into grungy lust, with Teasdale laying on the innuendo as thick as the distortion; later, she scales angelic heights on \"11:51,\" a surprisingly delicate ballad that reinforces how much Wet Leg's range has grown since their debut album. Even the pop culture references feel more varied, spanning the subversive feminist allusions within the sensuous shoegaze of \"Jennifer's Body\" to \"Davina McCall,\" which wraps nods to the Big Brother host and Shakira in guileless indie pop. Moisturizer isn't always softer or smoother than Wet Leg, but it is more candid. Teasdale's newfound awareness of her queerness led her to open up in her songwriting with appealingly approachable results on songs like \"Pokémon,\" where irresistibly silky choruses and whimsical lyrics (\"you just gotta choose me\/yeah I'll be your Pokémon\") deepen the emotions instead of diluting them. By the time the album closes with \"U and Me at Home\"'s rowdy celebration of domestic bliss, Wet Leg have let down their hair -- and their guard -- completely. Even without a breakout hit like \"Chaise Longue,\" Moisturizer is more confident, and more revealing, than Wet Leg's debut. 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While contemporaries reckon against trap fatigue or labor for social media relevancy, the maverick rapper-producer exists on an island of his own, sailing over the horizon like an indifferent mystic every 2 years to deliver another singular LP. But where the recent IGOR and CMIYGL served up vibrant, neatly structured narratives, his seventh studio album, Chromakopia, proves a little harder to decipher -- this is Tyler at his most earnest, but also his most uneven.\u003c\/p\u003e\n\u003cp\u003e\"Give a f*** about traditions, stop impressing the dead\" runs searching opener \"St. Chroma,\" and at first glance the album seems intent on breaking them: it's his first since 2011's Goblin without a divided track ten, the first to not feature his signature \"ayo,\" and most importantly, the first to break his two-year release pattern since his 2009 debut, Bastard. \"St. Chroma,\" Tyler's strongest intro to date, is an immediate collage of intent, flip-flopping from scratchy militarism to soaring gospel before making way for the equally explosive \"Rah Tah Tah\" and \"NOID.\" But while this militia-like opening trio create a brilliant, unified new sound, the rest of the album drops it abruptly: \"Darling I,\" \"Take Your Mask Off,\" and \"Judge Judy\" sound a little like Flower Boy pastiches (the latter proving a particular lowlight with its grating \"juuuuuuudge\" chorus), while \"Balloon\" pierces the album's pensive closers with a misplaced, funfair-like irreverence. Tyler has produced his best material while building all-encompassing worlds for his ideas -- the drifting summerscapes of Flower Boy, the chromatic heartbreak of IGOR -- in contrast, Chromakopia can feel both impulsive and reiterative.\u003c\/p\u003e\n\u003cp\u003eYet while Chromakopia's soundscapes do little to break the mold, his words tell a different story. The central St Chroma character appears to represent a masking of the truest self; Tyler spends much of the album unpacking his heritage, sexual preferences, and most surprisingly, potential fatherhood. Some of the moments here are among the most candid of his career: \"Hey Jane\" is a raw, sometimes ugly back-and-forth between Tyler and his potential child's mother, \"Noid\" lashes wildly at parasocial relationships and fame-driven paranoia, and \"Like Him\" sees Tyler \"chasing a ghost\" at the recognition of his father's features. The 33-year-old rapper's fear of ageing comes to a culmination on the beautifully nocturnal \"Tomorrow\"; hypnotically unfurling his regrets, Tyler shadows Kanye's iconic \"Welcome to Heartbreak\" with a conflicted \"my brodie had another baby, that's like number two… and all I got is photos of my 'Rari and some silly suits.\"\u003c\/p\u003e\n\u003cp\u003eChromakopia is less of a cohesive statement than Tyler's fans are used to hearing; it's erratic and candid at once, a strange pressure cooker of boasts and doubts that falls out of step with its deftly sequenced and thematically tight predecessors. But these are the sounds at the precipice of change -- perhaps it's fitting that Tyler can't quite package himself as neatly this time around.\u003c\/p\u003e\n\u003cp\u003et. 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Albums by crossover stars like Rae are often dubious affairs, less-than-inspired productions that can feel like an attempt to package someone to fit a preconceived image, rather than showcase actual talent. Thankfully, she impressively sidesteps any such pitfalls. Much of this is due to her production team, Swedish studio wizards Elvira Anderfjärd (Tove Lo, Au\/Ra) and Luka Kloser (Tate McRae, Conan Grey). Together, they frame Rae's baby-soft coo of a voice in dreamy, sonically textured, '90s house-style arrangements that deftly balance sugary pop hooks and a tongue-in-cheek playfulness. Cuts like \"Diet Pepsi,\" \"Money Is Everything,\" and \"Aquamarine\" are day-glo dance bangers that present the singer as a kind of thinly veiled jet-setting-club-kid version of herself. While lyrics like \"I don't need your drugs\/I'd rather get, rather get high fashion\" from \"High Fashion\" aren't exactly Ira Gershwin-level turns of phrase, Rae is more than game to play along, and her delivery elicits a giddy pop euphoria as the record moves along. Similarly, tracks like the clipped electro-groove of \"Fame Is a Gun\" and the kaleidoscopic new-age soundscape of \"Summer Forever\" keep you hooked and wondering, \"Is this art?\" That the album also brings to mind a heady mash-up of Ray of Light-era Madonna and the chibi future psychedelia of Grimes speaks to the inspired creativity at work between Rae and her team.\u003c\/p\u003e\n\u003cp\u003eNew York    2:32\u003cbr\u003eDiet Pepsi    2:50\u003cbr\u003eMoney is Everything    2:03\u003cbr\u003eAquamarine    2:43\u003cbr\u003eLost \u0026amp; Found    0:48\u003cbr\u003eHigh Fashion    3:18\u003cbr\u003eSummer Forever    3:48\u003cbr\u003eIn The Rain    3:34\u003cbr\u003eFame is a Gun    3:03\u003cbr\u003eTimes Like These    3:53\u003cbr\u003eLife's No Fun Through Clear Waters    0:57\u003cbr\u003eHeadphones On    4:00\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44651438014664,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/addision__85132.1745592966_1280x1280_4ca97928-93b8-4ec4-81f4-08c83f82e253.jpg?v=1749070162"},{"product_id":"turnstile-never-enough","title":"Turnstile - Never Enough","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTurnstile's third album, Glow On, broke them out of the hardcore scene and into the mainstream, earning near-universal acclaim, a Grammy nomination, and prominent chart placements around the world. Since their formation in 2010, the Baltimore band have tested the genre's borders, infusing their heavy music with unexpected musical references and an exploratory nature, traits they amplified on Glow On. Arriving four years later and weighted with expectations is Never Enough, the group's fourth full-length. Produced by frontman Brendan Yates with assistance from hardcore specialist Will Yip, this is the sound of a band in their creative prime, undaunted -- and quite possibly ignited -- by the spotlight now trained on them. It's their first release without founding guitarist Brady Ebert, who is replaced by new member Meg Mills, and even if the change is subtle, Turnstile have turned a corner here. Without abandoning their hardcore roots, they embrace a definitively more melodic sound that visits all sorts of locales, from lush dream pop and electronica to pristine, funky alt-rock and thrashy nu metal, all of it played with confidence and finesse. Across the board there is a greater emphasis on Yates' voice, which is its own unique instrument. In its more explosive moments, comparisons to Perry Farrell's melodic snarls are inevitable, and the heavy use of delay and other vocal effects nods to Jane's Addiction's 1988 classic Nothing's Shocking. Conversely, the hooky \"Seein' Stars\" sounds like the Police filtered through a glassy Cocteau Twins sheen. Even within songs that at first seem like straight-ahead melodic hardcore bangers, surprises abound, like the majestic tribal drums and synth line in the latter half of \"Sole\" or the horn line in \"Dreaming.\" Never Enough is a deliberately more synth-driven and effects-heavy album than Turnstile's previous output, yet it feels just as vital and gutsy because of how it plays with the mix. 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Recognized by his throaty yawp and hyper-stylized aesthetic (a kohl-eyed Harry Styles?), Dominic Richard Harrison, aka Yungblud, has been a chart-topping presence in England since his sophomore album, 2020's Weird. He's also been slowly making waves in the States, where his 2022 eponymous album cracked the Top 50 of the Billboard 200. On Idols, he reunites with producer Matt Schwartz (Massive Attack, Olly Murs), who was one of several collaborators on Weird and who steps up as the main producer here. Together, they make a creative turn away from the singer's previous dancey, pop-punk sound, embracing a heady blend of Brit-pop and classic rock sounds. He conjures the grunge power balladry of Radiohead on \"Zombie,\" wanders down Elton John's glittery '70s Yellow Brick Road on the piano-driven \"Supermoon,\" and even captures the soaring shoegaze-adjacent majesty of Ride on \"Monday Murder.\" There's also the epic album opener, \"Hello Heaven, Hello,\" a kind of two-song prog rock mash-up that starts like a U2 song from the late '90s before launching into an '80s AC\/DC cock-rock anthem. Admittedly, all of Yungblud's sonic borrowing can get a bit maddening. Nonetheless, you feel his passion, and the album takes on layers of meta-self-reflection, as if he's trying to work through his influences as a way to suss out his own musical identity and legacy. On \"Idols, Pt. I\" he sings,\" I wear too much makeup to see\/You broke all the mirrors in me.\" It's easy to appreciate the stagey aesthetics of the whole thing, where Yungblud (whose voice has never sounded more resonant) frames himself in big string and choral orchestrations and his longtime guitarist Adam Warrington leaps out from the wings for a fiery solo just before the curtain falls as he does on the Ziggy Stardust-esque \"Change.\" One of the pinnacle moments of inspiration on Idols is \"Lovesick Lullaby,\" an infectious novelty infused with a '90s Madchester \"lad mag\" hedonism in which Yungblud half-raps in his cockney accent against a spiraling, psych-rock groove. That the song brings to mind a wild fusion of peak \"Cool Britannia\"-era Blur, Happy Mondays, and the Stone Roses feels nakedly intentional. That it's also bursting at the seams with Yungblud's own mischievous pop charisma speaks to the way he's often able to bend his influences to his will on Idols.\u003c\/p\u003e\n\u003cp\u003eA1        Hello Heaven, Hello    9:06\u003cbr\u003eA2        Idols Pt. I    3:32\u003cbr\u003eA3        Lovesick Lullaby    2:57\u003cbr\u003eA4        Zombie    4:06\u003cbr\u003eA5        The Greatest Paradise    3:55\u003cbr\u003eB1        Change    3:28\u003cbr\u003eB2        Monday Murder    2:54\u003cbr\u003eB3        Ghosts    6:26\u003cbr\u003eB4        Fire    2:32\u003cbr\u003eB5        War    3:50\u003cbr\u003eB6        Idols Pt. II    1:41\u003cbr\u003eB7        Supermoon    3:12\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44662304211144,"sku":"","price":39.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/yungblud_indie_cover.jpg?v=1750101345"},{"product_id":"dijon-absolutely","title":"Dijon - Absolutely","description":"\u003cp\u003e\u003cstrong\u003eBrown Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBig Mike's    4:35\u003cbr\u003eScratching    1:44\u003cbr\u003eMany Times    2:06\u003cbr\u003eAnnie    1:58\u003cbr\u003eNoah's Highlight Reel    3:46\u003cbr\u003eThe Dress    3:04\u003cbr\u003eGod In Wilson    2:15\u003cbr\u003eDid You See It    1:14\u003cbr\u003eTalk Down    2:31\u003cbr\u003eRodeo Clown    3:23\u003cbr\u003eEnd Of Record    3:43\u003cbr\u003eCredits!    1:12\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44677670076616,"sku":"","price":31.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/ab67616d0000b273a68442f97c3ad2dcba0beae6.jpg?v=1750448211"},{"product_id":"tyler-childers-snipe-hunt","title":"Tyler Childers - Snipe Hunter","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTyler Childers' sixth long-player is a stripped-down affair featuring co-production by Rick Rubin that relies on traditional Appalachian instrumentation -- banjo, fiddle, mandolin, and upright bass -- to support the Kentucky native's poignant and intimate storytelling. Rooted in themes of nature, faith, isolation, addiction, and personal transformation, the 13-song set, which includes the streaming hits \"Oneida\" and \"Nose on the Grindstone,\" combines Childers' alchemical blend of country, bluegrass, and folk with rich gospel harmonies and immersing ambient field recordings.\u003c\/p\u003e\n\u003cp\u003eA1        Eatin' Big Time\u003cbr\u003eA2        Cuttin’ Teeth\u003cbr\u003eA3        Oneida\u003cbr\u003eA4        Getting to the Bottom\u003cbr\u003eB1        Bitin’ List\u003cbr\u003eB2        Nose On The Grindstone\u003cbr\u003eB3        Watch Out\u003cbr\u003eC1        Down Under\u003cbr\u003eC2        Poachers\u003cbr\u003eC3        Snipe Hunt\u003cbr\u003eD1        Tirtha Yatra\u003cbr\u003eD2        Tomcat And A Dandy\u003cbr\u003eD3        Dirty Ought Trill\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44677671223496,"sku":"","price":41.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/91x6l3MvcQL._SL1500.jpg?v=1750113258"},{"product_id":"sabrina-carpenter-mans-best-friend","title":"Sabrina Carpenter - Man's Best Friend","description":"\u003cp\u003e\u003cb\u003eAVAILABLE IN 2 COLOR VARIANTS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eLet's be clear, the title to Sabrina Carpenter's seventh album, 2025's Man's Best Friend, is an ironic joke. It's a play on her image as a sexy pop star, but one who is all too aware of the male gaze and who's dated more than one self-involved baby man. That it is also accompanied by a much discussed, probably satirical Helmut Newton-inspired S\u0026amp;M album cover, is a fact that may, in all fairness, rub some fans the wrong way and keep them from digging deeper into the album. Online discourse aside, Man's Best Friend is largely a fun, stylishly delivered follow-up to her 2024 breakthrough Short n' Sweet. While that previous effort was technically her sixth, it felt closer to a debut, or at the very least a new start for the former Disney Channel star who came into her own with hits like \"Espresso\" and \"Please Please Please;\" songs that believably infused her own cherubic pop charms with the confident swagger of Dolly Parton. Smartly building upon that sound, Carpenter has made a follow-up that finds her settled comfortably into a late-'70s\/early-'80s dance and country-pop sweet spot. It's a vibe that ELO's Jeff Lynne or Buggles' Trevor Horn might have had their hand in producing in the past. Here, that vintage-inspired vibe comes courtesy of the main Short n' Sweet-production\/songwriting team of Jack Antonoff and John Ryan, who help Carpenter evoke artists like Parton and Olivia Newton-John; the latter of whom particularly comes to mind while listening to the album. Primary to this contemporary-meets-throwback vibe is the opening \"Manchild,\" a giddy, smart anthem about the ubiquity of immature men that matches the catchy, endearing heights of Short n' Sweet. Full of frothy synth and twangy guitar accents, the song soars on Carpenter's blue-sky vocals and perfectly sets up the overall tone of the album. From there we get the Giorgio Moroder-esque disco-R\u0026amp;B grooves of \"Tears,\" \"Sugar Talking,\" and \"Never Getting Laid,\" songs that smartly evoke '70s pop-soul, but which wouldn't sound out of place on a modern K-pop production. All of this is savvily put together, presenting Carpenter as a thinking-person's pop star, both polished and glam but more than willing to show you that she's just as flawed and clumsy as the average girl, especially when it comes to dating and sex. She's also not afraid to spice things up, expressing playful exasperation that her \"slutty pajamas\" aren't getting her partner in the mood in \"My Man on Will Power,\" or admitting that arguing and making up can sometimes be the erotic, if admittedly toxic fuel to a relationship in \"We Almost Broke Up Last Night.\" Ultimately, Carpenter feels like she's writing from her own relatable experience on Man's Best Friend and while her tongue remains firmly planted in her cheek, the album has plenty of pop bite.\u003c\/p\u003e\n\u003cp\u003eManchild    3:33\u003cbr\u003eTears    2:40\u003cbr\u003eMy Man On Willpower    3:17\u003cbr\u003eSugar Talking    3:03\u003cbr\u003eWe Almost Broke Up Again Last Night    3:23\u003cbr\u003eNobody's Son    3:02\u003cbr\u003eNever Getting Laid    3:28\u003cbr\u003eWhen Did You Get Hot?    2:25\u003cbr\u003eGo Go Juice    3:13\u003cbr\u003eDon't Worry I'll Make You Worry    3:42\u003cbr\u003eHouse Tour    2:49\u003cbr\u003eGoodbye    3:45\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"INDIE EXCLUSIVE - SEA FOAM VINYL","offer_id":44758053421256,"sku":null,"price":39.99,"currency_code":"USD","in_stock":false},{"title":"LIGHT BLUE VINYL","offer_id":44758053454024,"sku":null,"price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/81YIufY4j6L._SL1500.jpg?v=1752178269"},{"product_id":"clipse-let-god-sort-em-out","title":"Clipse - Let God Sort Em Out","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEven with 16 years between their third album, 2009's Til the Casket Drops, and their fourth, 2025's Let God Sort Em Out, Virginia rap duo Clipse have been anything but absent. Even without new music under the Clipse banner, the group's imprint on rap has only grown, with regular reminders of greatness coming from solo efforts like Pusha T's ironclad 2018 outing Daytona, and subsequent waves of new rappers clearly taking influence from the duo's legendary back catalog. In that sense, Let God Sort Em Out isn't a return as much as it is a continuation. No one else has ever quite matched the Thornton brothers' high-impact alchemy, one that tempered the stark reality of rhymes centered around coke deals and street hierarchies with dizzying wordplay and spotless production that often bore subliminal pop touches courtesy of the Neptunes. This singular chemistry arrives in an updated form on Let God Sort Em Out, one that sometimes indulges in a slightly nostalgic sound, but more often marches forward. Pharrell Williams produces the entire album, and the instrumentals are polished to an almost detrimental degree. The thick bass hits and spare percussion of \"Ace Trumpets\" take notes from the minimalism of Clipse's best-known mid-2000s tracks, but replace the rawness of that earlier sound with production so dialed in it becomes dull. The spacy synths of \"All Things Considered\" get closer to the unusual power the group are capable of at their heights, while the banging beat of \"Chains \u0026amp; Whips\" comes on strong with distorted bass bumps and fragments of trumpet, but gets most of its intensity from effortless rhymes by Pusha T and Malice, and from a staggering feature from Kendrick Lamar. Other notable special guests also contribute, with Nas, Tyler, The Creator, Stove God Cooks, and others showing up on various tracks. As with everything they've done before it, the album boils down to the visceral talent and pummeling magic that happens whenever Clipse are rapping. This is exemplified on the simmering \"M.T.B.T.T.F.\" (short for the appropriately titled \"Mike Tyson Blow to the Face\"), and also on the more emotional but no less overpowering grief-laden opening track, \"The Birds Don't Sing.\" Even a bland beat with an exceptionally mainstream cameo from John Legend on the hook can't soften the potency of lyrics about the Thornton brothers losing their parents, and the self-awareness and regrets those losses caused. Clipse were already exhibiting maturation 16 years earlier when moments of self-reflection appeared amidst the coke raps and dominant sneering of Til the Casket Drops. Here, the pair still sound like the mortal threat they represented in younger days, but they integrate refinement, spirituality, and reflection on hard-learned lessons under that lens, communicating from a place of wisdom without losing any of their time-tested fury.\u003c\/p\u003e\n\u003cp\u003eA1        The Birds Don't Sing\u003cbr\u003eA2        Chains \u0026amp; Whips\u003cbr\u003eA3        P.O.V.\u003cbr\u003eA4        Ace Trumpets\u003cbr\u003eA5        All Things Considered\u003cbr\u003eA6        MTBTTF\u003cbr\u003eB1        E.B.I.T.D.A.\u003cbr\u003eB2        F.I.C.O.\u003cbr\u003eB3        Inglorious Bastards\u003cbr\u003eB4        So Far Ahead\u003cbr\u003eB5        Let God Sort Em Out \/ Chandeliers\u003cbr\u003eB6        By The Grace Of God\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44725705375944,"sku":null,"price":32.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/91FNVqSHBhL._SL1500.jpg?v=1754330731"},{"product_id":"olivia-dean-art-of-loving","title":"Olivia Dean - Art of Loving","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSinger\/songwriter, keyboardist, and producer Olivia Dean scored big with her 2023 debut Messy, a Top Ten hit in her native U.K. and a nominee for the 2023 Mercury Prize. Just before the release of her 2025 follow-up, The Art of Loving, she became the first woman since fellow BRIT School alum Adele to have three simultaneous Top Ten singles. The road was not without bumps. Dean had started work on songs for her second album in Los Angeles but found the material unsatisfying, so she returned home and rented a house in East London to write and record. The cozier and more familiar setting also enabled her to create The Art of Loving in one space with a smaller group of collaborators, making it less of a patchwork, aided most by Zach Nahome, producer or co-producer of every track. (Bastian Langebæk, Matt Hales, and Max Wolfgang constitute the returning cast.) Moved by artist Mickalene Thomas' exhibition All About Love, as well as the like-titled bell hooks book that inspired it, Dean thought more deeply about love as an ever-present aspect of life rather than a storybook concept. The first fruit was \"Nice to Each Other,\" a breezy and strummy pop song, full of self-effacing humor, calling for her and her partner to live in the moment. It signified on multiple levels the release of a pressure valve, and was actually Dean's second Top Ten hit of the year, just after \"Rein Me In,\" headlined by Sam Fender and featuring Dean as co-writer and duettist. The lightly galloping, gospel-inflected \"Man I Need,\" an amiable request for her man to open up and let her into his life, completed Dean's Top Ten trifecta. \"So Easy (To Fall in Love),\" a charming number co-written by hitmaker Amy Allen, became Dean's fourth Top Ten single with a touch of early-'60s Burt Bacharach and Hal David. Most of what remains on The Art of Loving has as much easygoing appeal. That goes for moments when Dean confronts her man to ask for clarity (the fine retro-soul ballad \"Close Up\"), informs him that he's slipping (\"Let Alone the One You Love,\" with loose, rustic, and elegant qualities akin to prime Delaney \u0026amp; Bonnie), and ingeniously relates the before-and-after effects of a split (the bobbing \"Baby Steps\"). \"I've Seen It,\" the intimate acoustic finale, articulates Dean's philosophical outlook on love in stirring fashion. This is a couple cuts above her promising debut.\u003c\/p\u003e\n\u003cp\u003eA1        The Art of Loving\u003cbr\u003eA2        Nice To Each Other\u003cbr\u003eA3        Lady Lady\u003cbr\u003eA4        Close Up\u003cbr\u003eA5        So Easy (To Fall In Love)\u003cbr\u003eA6        Let Alone The One You Love\u003cbr\u003eB7        The Man I Need\u003cbr\u003eB8        Something Inbetween\u003cbr\u003eB9        Loud\u003cbr\u003eB10        Baby Steps\u003cbr\u003eB11        A Couple Minutes\u003cbr\u003eB12        I’ve Seen It\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44900073013448,"sku":null,"price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/91ogA7DN6jL._SL1500.jpg?v=1755798211"},{"product_id":"dijon-baby","title":"Dijon - Baby","description":"\u003cp\u003e\u003cstrong\u003eAVAILABLE IN 2 COLOR VARIANTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGauging Dijon's stylistic range, aesthetic, and appeal is a fool's errand. Sought as an all-around collaborator by Charli xcx, Justin Bieber, and Bon Iver, Dijon has also seen his spare ballad \"Good Luck\" sampled by Kanye West, and \"Many Times,\" a nervy outburst between Thin Lizzy and Van Hunt, has been reinterpreted by jazz pianist Julius Rodriguez. Here's a guy who praised Jodeci as \"the weirdest music ever\" while wearing a shirt emblazoned with the title and credits of \"Jesus' Blood Never Failed Me Yet,\" the Gavin Bryars composition featuring a loop of an improvised rhapsody sung by an unidentified homeless man. On Baby, his second album, Dijon and an assortment of close and new associates -- from fellow multi-instrumentalists and producers Mk.gee, BJ Burton, and Andrew Sarlo to supreme veteran bassist Pino Palladino -- continue to advance a scruffy type of modern soul music combining tradition and innovation with the favoring of raw expression. Twisted and bent with an anything-goes attitude toward sound and structure, it could be called R\u0026amp;B\u0026amp; -- rhythm and blues and whatever falls into place, whether divined or purposefully drawn from hip-hop, folk, country, or avant-garde production techniques. \"Baby!\" starts the album in rocking motion with Dijon singing in his pinched rasp to his firstborn, detailing the events that led to his fatherhood with touching and humorous candor. Pattering toddler steps race across the boomy, borderline TMI lullaby, and the joyous feeling continues. Over fractured new jack swing, Dijon propositions his wife to expand the family on \"Another Baby!\" He testifies to her on \"Higher!,\" a slightly church-ified number where each sound -- blaring organ, prancing piano, twisting bass, the odd sample -- seems to arrive from a different angle. Taking it to the hilt, \"Yamaha\" is an ecstatic, blown-out ballad suggesting a lost late-'80s love theme written with Ralph Tresvant in mind. From there, the material grows more combustible, tense, and emotionally scrambled, and that can be discerned from Dijon's voice alone. He howls with such force on \"My Man,\" a staggering ballad about his relationship with his father, that it's a wonder he can still speak, let alone sing. He eases into a comparatively restful state in time for the final song, a blurred, swaying ode to companionship. The man has hits, but Baby is his apotheosis thus far.\u003c\/p\u003e\n\u003cp\u003eA1        Baby!    3:40\u003cbr\u003eA2        Another Baby!    3:28\u003cbr\u003eA3        Higher!    3:58\u003cbr\u003eA4        (Freak It)    1:44\u003cbr\u003eA5        Yamaha    4:28\u003cbr\u003eB1        Fire!    2:40\u003cbr\u003eB2        (Referee)    1:06\u003cbr\u003eB3        Rewind    2:33\u003cbr\u003eB4        My Man    3:59\u003cbr\u003eB5        Loyal \u0026amp; Marie    2:33\u003cbr\u003eB6        Automatic    2:58\u003cbr\u003eB7        Kindalove    4:37\u003cbr\u003eB8        Nü Diamond    2:29\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"CLEAR VINYL","offer_id":44741767626952,"sku":null,"price":34.99,"currency_code":"USD","in_stock":false},{"title":"SILVER VINYL","offer_id":44741767659720,"sku":null,"price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/81I-sn_qxvL._SL1500.jpg?v=1763515405"},{"product_id":"sabrina-carpenter-mans-best-friend-alternate-cover","title":"Sabrina Carpenter - Man's Best Friend (Alternate Cover)","description":"\u003cp\u003e\u003cstrong\u003eALTERNATE COVER WITH DUSTY ROSE VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLet's be clear, the title to Sabrina Carpenter's seventh album, 2025's Man's Best Friend, is an ironic joke. It's a play on her image as a sexy pop star, but one who is all too aware of the male gaze and who's dated more than one self-involved baby man. That it is also accompanied by a much discussed, probably satirical Helmut Newton-inspired S\u0026amp;amp;M album cover, is a fact that may, in all fairness, rub some fans the wrong way and keep them from digging deeper into the album. Online discourse aside, Man's Best Friend is largely a fun, stylishly delivered follow-up to her 2024 breakthrough Short n' Sweet. While that previous effort was technically her sixth, it felt closer to a debut, or at the very least a new start for the former Disney Channel star who came into her own with hits like \"Espresso\" and \"Please Please Please;\" songs that believably infused her own cherubic pop charms with the confident swagger of Dolly Parton. Smartly building upon that sound, Carpenter has made a follow-up that finds her settled comfortably into a late-'70s\/early-'80s dance and country-pop sweet spot. It's a vibe that ELO's Jeff Lynne or Buggles' Trevor Horn might have had their hand in producing in the past. Here, that vintage-inspired vibe comes courtesy of the main Short n' Sweet-production\/songwriting team of Jack Antonoff and John Ryan, who help Carpenter evoke artists like Parton and Olivia Newton-John; the latter of whom particularly comes to mind while listening to the album. Primary to this contemporary-meets-throwback vibe is the opening \"Manchild,\" a giddy, smart anthem about the ubiquity of immature men that matches the catchy, endearing heights of Short n' Sweet. Full of frothy synth and twangy guitar accents, the song soars on Carpenter's blue-sky vocals and perfectly sets up the overall tone of the album. From there we get the Giorgio Moroder-esque disco-R\u0026amp;amp;B grooves of \"Tears,\" \"Sugar Talking,\" and \"Never Getting Laid,\" songs that smartly evoke '70s pop-soul, but which wouldn't sound out of place on a modern K-pop production. All of this is savvily put together, presenting Carpenter as a thinking-person's pop star, both polished and glam but more than willing to show you that she's just as flawed and clumsy as the average girl, especially when it comes to dating and sex. She's also not afraid to spice things up, expressing playful exasperation that her \"slutty pajamas\" aren't getting her partner in the mood in \"My Man on Will Power,\" or admitting that arguing and making up can sometimes be the erotic, if admittedly toxic fuel to a relationship in \"We Almost Broke Up Last Night.\" Ultimately, Carpenter feels like she's writing from her own relatable experience on Man's Best Friend and while her tongue remains firmly planted in her cheek, the album has plenty of pop bite.\u003c\/p\u003e\n\u003cp\u003eManchild    3:33\u003cbr\u003eTears    2:40\u003cbr\u003eMy Man On Willpower    3:17\u003cbr\u003eSugar Talking    3:03\u003cbr\u003eWe Almost Broke Up Again Last Night    3:23\u003cbr\u003eNobody's Son    3:02\u003cbr\u003eNever Getting Laid    3:28\u003cbr\u003eWhen Did You Get Hot?    2:25\u003cbr\u003eGo Go Juice    3:13\u003cbr\u003eDon't Worry I'll Make You Worry    3:42\u003cbr\u003eHouse Tour    2:49\u003cbr\u003eGoodbye    3:45\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44755446694088,"sku":null,"price":39.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/516940755_18530300197009287_3554137188521943922_n.jpg?v=1770768438"},{"product_id":"tame-impala-deadbeat","title":"Tame Impala - Deadbeat","description":"\u003cp\u003e\u003cstrong\u003e2xLP BLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLike the span between Currents and The Slow Rush, another five years passed between Tame Impala albums until the release of 2025's Deadbeat. During that gap, Kevin Parker worked with Diana Ross, Gorillaz, Dua Lipa, and Justice, which hint at the spirit of what would become the fifth Tame Impala full-length. Continuing in the expansive dance-centric style of its two predecessors, this set is built for body moving, more specifically in the setting of an Australian bush doof. Named after the onomatopoeic \"doof doof\" pounding of a big techno bass drum kick, the bush doof subculture centers on far-flung raves held in, where else, the bush. Even if one has never been to a doof, Deadbeat gets the message across with its dozen pulsing gems. The immediate standout \"Dracula\" is the big pop single, a sleek, radio-friendly banger inspired by Max Martin, and the sweaty funk of \"Loser\" offers an early breather, but the rest of the effort dials back the accessible aspirations and shifts focus to the overall ebb and flow of this particular party. Floating into the cosmos along the sci-fi synths of \"Oblivion,\" listeners are cast off on the heady trip of \"Not My World,\" a hypnotic trance escape. There are nods to Enya on the wistful \"Piece of Heaven\" and Daft Punk on the retro \"Obsolete.\" Meanwhile, \"Ethereal Connection\" takes cues from Underworld as the beat assault slowly builds to one of the most satisfying releases on Deadbeat. The mind is further altered on the closing \"End of Summer,\" a seven-minute epic that rides a fist-pumping beat through swirling space dust. Though it only clocks in at an hour, it certainly feels like a full night of dancing until sunrise with Parker on the decks. His thoughtful pacing doles out thrilling moments worth waiting for, while the slower segments allow for the energy to build again. 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That much becomes apparent not a minute into the curly haired singer\/songwriter's breakout single, “Back to Friends”; “How can we go back to being friends, when we just shared a bed?” runs the vocalist’s caustic grief, a sentiment underscored by sparse pianos and a fuzzy crowd of guitars. It straddles simplicity and intensity in a way that few manage and takes on a gravitational pull of its own.\u003c\/p\u003e\n\u003cp\u003eIt’s a trait that remains a superpower across the young vocalist's Warner debut. Each track of the wryly titled I Barely Know Her is spearheaded by a grand, magnetic chorus brought to culmination by the New York vocalist’s dexterous, impassioned vocal style. His pleas break warmly through the scratchy melodrama of opener “crushing,” add a pensive brightness to the strutting verses of “12 to 12,” and soar into devastation on the excellent “canal street.” At times, this strength proves a little easy to lean on, with choruses rushing back around slightly too quickly on “i wish I knew how to quit you” and “we never dated\" -- though with the harmonized agony of the latter's chorus, it's easy to see why.\u003c\/p\u003e\n\u003cp\u003eThe album’s core thread runs around heartbreak, and nowhere does that manifest more impactfully than on the aforementioned “canal street.” A five-minute, hands-in-pockets walk through heartache, the album’s centerpiece track traces New York’s Canal St. with a surprisingly concrete set of eyes, cycling back to its face-numbing “none of them are you” on a bold album high point. Similarly poignant touches make a diamond out of “undressed,” which mourns the reluctance to “get undressed for a new person all over again,” and dreads “the children of another man…hav[ing] the eyes of the girl I won’t forget.” Of course, there are still a few growing pains here -- an overstretched “You’re a -- ten” chorus on “dime,” a clinking “Do you feel me too in your heart, or only when I touch your parts?” on “come closer” -- but they’re quickly lost in the melodramatic spool of the subsequent “we never dated” and “undressed.”\u003c\/p\u003e\n\u003cp\u003eThe emblazoned red mark that comes with social media virality has proven the death of many young artists’ careers, but Sombr dodges the brand with grace; on I Barely Know Her, the 20-year-old star takes a magnetic first step.\u003c\/p\u003e\n\u003cp\u003e1        Crushing    3:27\u003cbr\u003e2        12 To 12    4:02\u003cbr\u003e3        I Wish I Knew How To Quit You    3:52\u003cbr\u003e4        Back To Friends    3:19\u003cbr\u003e5        Canal Street    5:02\u003cbr\u003e6        Dime    3:45\u003cbr\u003e7        Undressed    3:02\u003cbr\u003e8        Come Closer    3:14\u003cbr\u003e9        We Never Dated    3:16\u003cbr\u003e10        Under The Mat    4:44\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"STANDARD BLACK VINYL","offer_id":44865744109768,"sku":null,"price":28.99,"currency_code":"USD","in_stock":true},{"title":"RED CASSETTE","offer_id":44865744142536,"sku":null,"price":17.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/81PgxlzHYVL._SL1500.jpg?v=1762199000"},{"product_id":"hayley-williams-ego-death-at-the-bachelorette-party","title":"Hayley Williams - Ego Death at the Bachelorette Party","description":"\u003cp\u003e\u003cstrong\u003e2xLP YELLOW VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHayley Williams is sad and dealing with it on her third solo album, 2025's intimately rendered Ego Death at a Bachelorette Party. The follow-up to 2020's Petals for Armor and 2021's Flowers for vases\/descansos, it also arrives two years after This Is Why, her Grammy-winning sixth album with pop\/rock outfit Paramore. In contrast to that album's angular post-punk dissonance and cutting political invective, Ego Death finds Williams in a ruminative mood, coming to terms with her depression, romantic desires, and sometimes difficult relationships with her Paramore bandmates. Produced with Canon Blue songwriter\/instrumentalist Daniel James, the album showcases a modicum of sonic exploration, whether it be the fuzzy '90s shoegaze of \"Mirtazapine,\" the childlike vocal processing in the Beck-like \"Glum,\" or the gauzy, Karen Carpenter-esque multi-tracked harmonies of \"Dream Girl in Shibuya.\" Yet these are relaxed, organic productions where the experimentation never gets in the way of the pure emotions at the core of each song. There is a diaristic quality to Ego Death and one could easily assume Williams is writing about specific people in her life. Are Paramore siblings drummer Zac Farro and former guitarist Josh Farro the subjects of \"Brotherly Hate?\" Probably. Is the bass-heavy \"Hard\" about the fall-out from her divorce with New Found Glory guitarist Chad Gilbert? Most likely, yes. Often, there's overlap, as in \"Ice in My OJ,\" where Williams embraces a rapper's swagger, singing \"I got ice in my OJ, I'm a cold hard b****\/A lot of dumb mutherf***ers that I made rich.\" That she also repeatedly screams \"I'm in a band\" on the chorus speaks to the raw, end-of-a-rope emotionality of the album. Yet the answer to whether a rumored romantic relationship with Paramore guitarist Taylor York is at the center of much of Ego Death remains enticingly elusive. Is he the titular subject of \"Disappearing Man\" with his \"wild hair and stare that could melt stone\"? Or is he the lover Williams thought was always going to catch her and now has to \"watch me fall\" in \"Parachute?\" Regardless, Ego Death certainly feels like a break-up album, both literally in terms of a relationship ending and as a metaphor for Williams' own personal and creative rebirth. On \"True Believer\" she reckons with her conservative Christian Southern roots, especially as a California-honed rock singer who continues to live in Nashville. There are also hints that even the best relationships can have problems, as in \"Love Me Different,\" where a buoyant synth groove evoking Paramore's \"Hard Times\" belies romantic troubles. She underscores this sense of emotional bottoming out on the title track, singing \"Can only go up from here.\" Musically, all of this hangs together with the relatable warmth and engaging lyricism that mark the best of Williams' work with and without Paramore. With Ego Death at a Bachelorette Party, Williams has crafted an album about letting go and finding a way to move forward honestly, and perhaps most importantly on her own terms.\u003c\/p\u003e\n\u003cp\u003eA1        Ice In My OJ\u003cbr\u003eA2        Glum\u003cbr\u003eA3        Kill Me\u003cbr\u003eA4        Whim\u003cbr\u003eA5        Mirtazapine\u003cbr\u003eB6        Disappearing Man\u003cbr\u003eB7        Love Me Different\u003cbr\u003eB8        Brotherly Hate\u003cbr\u003eB9        Negative Self Talk\u003cbr\u003eB10        Ego Death At A Bachelorette Party\u003cbr\u003eC11        Hard\u003cbr\u003eC12        Discovery Channel\u003cbr\u003eC13        True Believer\u003cbr\u003eC14        Zissou\u003cbr\u003eC15        Dream Girl In Shibuya\u003cbr\u003eD16        Blood Bros\u003cbr\u003eD17        I Won’t Quit On You\u003cbr\u003eD18        Parachute\u003cbr\u003eD19        Good Ol’ Days\u003cbr\u003eD20        Showbiz\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44838267945160,"sku":null,"price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/PA001.jpg?v=1762908036"},{"product_id":"katseye-sis-soft-is-strong-ep","title":"Katseye - SIS (Soft is Strong) EP","description":"\u003cp\u003e\u003cstrong\u003eVINTAGE BOTTLE VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFormed under a K-pop-meets-American-pop incentive from monolith labels Geffen and HYBE, international girl group KATSEYE debut at the crossroads: these are American popstars moving with Big-4 routines, U.S. radio anthems promoted by a relentless armada of documentaries and photocards, and stars from Atlanta and Los Angeles trained under the regimes of LE SSERAFIM and NewJeans. Yet, with the unique potential of this type of pop merger, it's surprising -- and disappointing -- how safe the two labels are playing it here.\u003c\/p\u003e\n\u003cp\u003eKATSEYE's debut mini-album, SIS (Soft Is Strong), runs at a shockingly short 11 minutes; although the marketability of two-minute, snippet-length songs can't be denied, it feels like an obvious mismatch for idols looking to establish their personalities on a global stage. While lead single \"Touch\" has all the traits of a viral single, it does little to establish any identity for the group: its light-touch sound has been reiterated ad nauseum in the modern K-pop zeitgeist, Auto-Tune warping the girls' voices until they're indistinct before ending abruptly without a bridge or final chorus. Though the track's \"touch touch touch\" chorus is catchy -- enough to be parroted almost beat-for-beat on the \"say\"s and \"way\"s of subsequent \"My Way\" -- it's too ephemeral to give the track any real backbone. The same can be said of first single \"Debut,\" which, despite slick vocals from the KATSEYE girls, feels like it's racing to be over, verses and choruses adamantly hurtling past one another. The project's B-sides, \"I'm Pretty\" and \"Tonight I Might,\" offer more unique sounds, though even these fall a little short in their execution. The former leads with a beautiful pre-chorus from vocal titan Lara and a smooth set of group-wide melodies, but layers them over a sparse instrumental and an irritating refrain reminiscent of Sam Smith and Naughty Boy's \"La La La.\" The latter resolves this issue with a strong piano line and a refreshing change of pace, but falls down sharply in the writing room -- \"high on life for somebody's kiss\" and \"the kinda party required to go in fully inspired by\" prove particular head-scratchers.\u003c\/p\u003e\n\u003cp\u003eWhat results is a project that does the six-piece few favors. These should be the defining moments of these young idols' sound; instead, we're given rehashes of contemporary ideas and tracks that give the girls no room to build anything substantial. There's a lot of talent here -- and a solid premise to boot -- but SIS does very little to showcase it. KATSEYE's idols deserve a better start.\u003c\/p\u003e\n\u003cp\u003eA1        Debut    2:03\u003cbr\u003eA2        Touch    2:10\u003cbr\u003eA3        My Way    2:35\u003cbr\u003eA4        I’m Pretty    2:23\u003cbr\u003eA5        Tonight I Might    2:36\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44853454405832,"sku":null,"price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/0602465902143.jpg?v=1763666295"},{"product_id":"bad-bunny-debi-tirar-mas-fotos","title":"Bad Bunny - Debi Tirar Mas Fotos","description":"\u003cp\u003e\u003cstrong\u003e2xLP OPAQUE WHITE VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn his short film collaboration with Jacobo Morales, Bad Bunny envisions a Puerto Rico ravaged by American consumerism. Reminiscing on the island’s old magic, Morales, a substitute for an older Benito, watches a panadería flog 15-dollar vegan quesitos, his village overrun by wolf-eyed new neighbors. This preoccupation with change -- and its consequences -- forms the beating heart of Benito's sixth studio album, Debí Tirar Más Fotos: here are stories of moments lost and places changed, of relationships gone astray, of U.S. predators and their designs upon his homeland.\u003c\/p\u003e\n\u003cp\u003eIn response, he wraps himself with twin disciplines: longing and identity. The former mounts early on the six-minute salsa landmark \"Baile Inolvidable\" -- \"you taught me to love, you taught me to dance\" -- which mourns a lifetime love in a spacious yet rending instant classic. Yearnings for heart and homeland often cross paths to the extent that they’re indistinguishable: “Turista” paints a surface-level relationship as tourism of his life, “Bokete” maps heartbreak on PR’s titular potholes while eye-rolling the government's inefficiency, and his homeland almost overshadows the object of the love letter, “Weltita.” The title track “DTMF” yanks at the heartstrings with a half-interpolation of “Callaíta\" and proves one of the most uniting songs in his catalog, a poignant tribute to lost friends and relatives, the photos that were never taken, words never said.\u003c\/p\u003e\n\u003cp\u003eIn the face of his country’s turbulent future, Benito also pumps his work with a fierce sense of identity and resilience. On “La Mudanza,” he’s hoping for his music to be played when freedom-fighter Hostos’ body is returned to the homeland; on “Café con Ron,” he’s uniting with Los Pleneros de la Cresta to summon folks from Farjardo to Rincón. Songs are phoneticized locally -- “Verdad” becomes “Veldá” and “Nueva York” “Nuevayol” -- while the album’s invigorating drumbeat is hammered by students from San Juan’s Libre de Música Ernesti Ramos Antonini. The centerpiece of it all is the devastating “Lo Que Le Pasó a Hawaí,” where Benito warns his homeland of U.S. capitalists’ voracious intentions -- “they want my neighborhood, and for your children to leave\/No, don’t let go of the flag nor forget the Le Lo Lai\/I don’t want them to do to you, what happened to Hawaii.”\u003c\/p\u003e\n\u003cp\u003eThis, however, is an album as much about uplifting as uprising: there are interpolations from Chuíto el de Bayamón and Héctor Lavoe, plena fusions on “Él Club” and “Café con Ron,” güiros folded between thumping basslines and bubbling synths. The album’s all-Boricuas featured artists include showstopping appearances from RaiNao and Chuwi, while PR pioneer Tainy veers its reggaeton from the sweeping, technological “Perfumito Nuevo” to the grimy perreo jam “EoO.” The only thing absent here are the more emotional synth lines of his classics; it’s hard to see the icier “Veldá” and “Ketu Tecré” bottling entire years like a “Dákiti” or “Moscow Mule.”\u003c\/p\u003e\n\u003cp\u003eDebí Tirar Más Fotos is a Puerto Rican triumph, as verdant as its foliage and as vital as its cause. 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It's not only that the singer announced over three years earlier that it was forthcoming, or that he further teased listeners during the interim. With rare exception, Swag is about doe-eyed seduction, loyalty, humility, and faith. Moreover, \"Swag\" itself hardly shows Bieber embracing the term as he did in the early 2010s -- ironically, he's the hook man on the song, and it's featured guest Cash Cobain demanding to be called \"swag king.\" Production-wise, this is a departure for Bieber. Carter Lang, often joined by cohorts Dylan Wiggins and Eddie Benjamin, co-produces 20 of 21 tracks, ensuring that the LP has meandering and oddly soothing qualities akin to SZA's Ctrl and SOS and Omar Apollo's Ivory. The addition of Dijon on four cuts enhances the album's sense of intimacy with softer-yet swirly\/bristly touches. One of those songs, \"Daisies,\" also involves the unmistakable Mk.gee, and for Bieber it's a career highlight, a gentle rocker conveying an ultra-rare combination of anticipation, patience, and empathy. More often, Bieber's direct and inelegant wordplay is at odds with the hazy sonics. Take \"405,\" a peculiar love song that sounds something like Bruce Springsteen's \"I'm on Fire\" crossed with atmospheric drum'n'bass, where Bieber mumble-croons \"You hit the gas\/Spider-Man, Spider-Man on your ass.\" Apart from Lil B adding his positivity to \"Dadz Love,\" the other featured voices, whether spoken, sung, or rapped, are unnecessary and sometimes inane. \"Sweet Spot\" in particular is a mismatch with an expectedly vulgar Sexyy Red. It desecrates New Edition's \"Can You Stand the Rain\" with almost as much force as Jeezy's swag-era \"Sunny Days.\"\u003c\/p\u003e\n\u003cp\u003eA1    Justin Bieber–    All I Can Take    4:08\u003cbr\u003eA2    Justin Bieber–    Daisies    2:56\u003cbr\u003eA3    Justin Bieber–    Yukon    2:44\u003cbr\u003eA4    Justin Bieber–    Go Baby    3:15\u003cbr\u003eA5    Justin Bieber–    Things You Do    1:48\u003cbr\u003eB1    Justin Bieber–    Butterflies    3:14\u003cbr\u003eB2    Justin Bieber, Gunna–    Way It Is    3:15\u003cbr\u003eB3    Justin Bieber–    First Place    3:20\u003cbr\u003eB4    Justin Bieber, Druski–    Soulful    0:37\u003cbr\u003eB5    Justin Bieber–    Walking Away    4:04\u003cbr\u003eC1    Justin Bieber–    Glory Voice Memo    1:25\u003cbr\u003eC2    Justin Bieber, Dijon–    Devotion    3:54\u003cbr\u003eC3    Justin Bieber, Lil B–    Dadz Love    2:25\u003cbr\u003eC4    Justin Bieber, Druski–    Therapy Session    1:19\u003cbr\u003eC5    Justin Bieber, Sexyy Red–    Sweet Spot    3:05\u003cbr\u003eC6    Justin Bieber, Druski–    Standing On Business    0:50\u003cbr\u003eD1    Justin Bieber–    405    3:33\u003cbr\u003eD2    Justin Bieber, Cash Cobain, Eddie Benjamin–    Swag    2:30\u003cbr\u003eD3    Justin Bieber–    Zuma House    1:23\u003cbr\u003eD4    Justin Bieber–    Too Long    3:05\u003cbr\u003eD5    Justin Bieber, Marvin Winans–    Forgiveness    1:31\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44885038727368,"sku":null,"price":52.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/JustinBieber_Cover.webp?v=1767651367"},{"product_id":"paul-simon-graceland","title":"Paul Simon - Graceland","description":"\u003cp\u003e\u003cstrong\u003e25th ANNIVERSARY EDITION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWith Graceland, Paul Simon hit on the idea of combining his always perceptive songwriting with the little-heard mbaqanga music of South Africa, creating a fascinating hybrid that re-enchanted his old audience and earned him a new one. It is true that the South African angle (including its controversial aspect during the apartheid days) was a powerful marketing tool and that the catchy music succeeded in presenting listeners with that magical combination: something they'd never heard before that nevertheless sounded familiar. As eclectic as any record Simon had made, it also delved into zydeco and conjunto-flavored rock \u0026amp; roll while marking a surprising new lyrical approach (presaged on some songs on Hearts and Bones); for the most part, Simon abandoned a linear, narrative approach to his words, instead drawing highly poetic (\"Diamonds on the Soles of Her Shoes\"), abstract (\"The Boy in the Bubble\"), and satiric (\"I Know What I Know\") portraits of modern life, often charged by striking images and turns of phrase torn from the headlines or overheard in contemporary speech. An enormously successful record, Graceland became the standard against which subsequent musical experiments by major artists were measured.\u003c\/p\u003e\n\u003cp\u003eA1        The Boy In The Bubble 3:59\u003cbr\u003eA2        Graceland 4:48\u003cbr\u003eA3        I Know What I Know 3:13\u003cbr\u003eA4        Gumboots 2:42\u003cbr\u003eA5        Diamonds On The Soles Of Her Shoes 5:34\u003cbr\u003eB1        You Can Call Me Al 4:39\u003cbr\u003eB2        Under African Skies 3:34\u003cbr\u003eB3        Homeless 3:45\u003cbr\u003eB4        Crazy Love, Vol II 4:17\u003cbr\u003eB5        That Was Your Mother 2:51\u003cbr\u003eB6        All Around The World Or The Myth Of Fingerprints 3:15\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44885094269128,"sku":null,"price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/71Posnz98jL._UF1000_1000_QL80.jpg?v=1767650656"},{"product_id":"fka-twigs-eusexua","title":"FKA Twigs -  EUSEXUA","description":"\u003cp\u003e\u003cstrong\u003eCRYSTAL CLEAR VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe emotions in FKA twigs' music are so complex, it's no wonder she coins new words to describe them. Her third album, EUSEXUA, is named for a fusion of euphoria and sexuality, and her pursuit of this blissful loss of self traces a journey paved with intimate truths. The first steps she takes are onto the dancefloor. Inspired by the music she fell in love with in Prague's clubs while on the set of The Crow, twigs uses the pounding heartbeat of dance music as the backdrop for some of her most physical, confessional, and empowering songs. On the title track, a four-on-the-floor beat grounds her voice as she reaches for ecstatic heights that she refuses to call love; on \"Girl Feels Good,\" the filtered synths and slinky grooves hark back to William Orbit's work on Madonna's Ray of Light, another album that found epiphanies in the club. Though FKA twigs' collaborators include A-list producers like Koreless, Stargate, and Sasha, EUSEXUA's throb is as far away from Caprisongs' musical hangouts as that mixtape was from Magdalene's cloistered art-pop. Even at its catchiest, like the sleek celebration of no-strings-attached encounters on \"Perfect Stranger,\" the album's reliance on choruses and hooks doesn't seem like a bid for greater fame. Rather, the glitchy Y2K fembot sounds of \"Drums of Death\" and the unnaturally perky bounce of \"Childlike Things\" feel like attempts to escape lingering undercurrents of pain and betrayal that can't be outrun or out-danced. As twigs teeters between the safety of anonymity and fantasies and the risks and rewards of revealing herself fully, EUSEXUA becomes even richer. The album's frank second half is more free flowing and conversational than any of her previous music, particularly on \"Sticky,\" a painfully self-aware moment of introspection (\"It hurts so bad to shed my skin\/With you watching\") that feels equally akin to the confessions of brat and twigs' own \"Water Me.\" She confronts the tangling of love, lust, and self bravely, no matter how complicated it gets. On \"Striptease,\" she illustrates how quickly being open with a partner can veer from authentic to performative with her breathlessly desperate vocals. Her willingness to venture into uncomfortable territory makes for some of EUSEXUA's most gripping listening; it's notable that she sounds closest to the bliss she seeks when she exorcises her pain with the cathartic snarl of \"Room of Fools\" or explores submission on \"24hr Dog.\" By the time the album closes with \"Wanderlust,\" a stunning epilogue that falls somewhere between SZA and This Mortal Coil's \"Song to the Siren,\" FKA twigs has guided listeners through a remarkably honest song cycle. The complexities are where her music thrives, and EUSEXUA abounds with them.\u003c\/p\u003e\n\u003cp\u003eA1        Eusexua    4:24\u003cbr\u003eA2        Girl Feels Good    3:56\u003cbr\u003eA3        Perfect Stranger    3:17\u003cbr\u003eA4        Drums Of Death 3:11\u003cbr\u003eA5        Room Of Fools    4:25\u003cbr\u003eA6        Sticky    2:57\u003cbr\u003eB7        Keep It, Hold It    4:32\u003cbr\u003eB8        Childlike Things    2:30\u003cbr\u003eB9        Striptease    4:37\u003cbr\u003eB10        24hr Dog    4:41\u003cbr\u003eB11        Wanderlust    4:17\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44898901819592,"sku":null,"price":33.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/916w3VRIfYL._SL1500.jpg?v=1768090103"},{"product_id":"pinkpantheress-to-hell-with-it","title":"Pinkpantheress - To Hell With it","description":"\u003cp\u003e\u003cstrong\u003eSPARKLE EFFECT VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLike many pop culture sensations around the turn of the 2020s, PinkPantheress quickly became famous thanks to video-focused social media service TikTok. Initially posting brief loops of songs she worked on after coming home from her classes for the day, the clips went viral, and her audience expanded further after she signed to Parlophone and began releasing singles. Calling her style \"new nostalgic,\" her music borrows heavily from dance and pop music of the '90s and early 2000s, with the ecstatic surge of liquid drum'n'bass and the clipped, staccato beats of U.K. garage and 2-step driving many of her songs. Her intimate vocals disguise lyrics about loneliness, heartache, and desire in sugary melodies, helping them resonate in the same bittersweet manner as past U.K. dance hits like T2 and Jodie Aysha's 2007 smash \"Heartbroken.\" There are parallels between PinkPantheress' style and some of the more dance-adjacent indie R\u0026amp;B artists of the 2010s, like Kelela and Abra, but her sincere lyrics and intricate melodies, which make the best of her limited vocal range, put her closer to the league of bedroom pop and the less-garish corners of the PC Music world.\u003c\/p\u003e\n\u003cp\u003eTo Hell with It, PinkPantheress' debut mixtape, gathers most of her previously issued singles, several of which became charting pop hits in the U.K. and New Zealand. She even found success stateside, where U.K. garage and drum'n'bass are beloved by certain anglophiles, ravers, and music journalists, but largely remain obscure to the general public. The entire release clocks in at under 20 minutes, with the ten tracks initially feeling more like preview clips rather than full songs. The brisk tempos and urgent lyrics beg for repeated listens, however, and the mixtape quickly becomes addictive. Her interpolation of familiar but not overused samples (including the keyboards from Crystal Waters' \"Gypsy Woman\" and the Satie-mirroring chord sequence of Sweet Female Attitude's \"Flowers\") transcends clever gimmickry, and she brilliantly snakes her delicate voice around the kinetic, tightly wound beats in such an unforced, carefree way that there's still plenty of emotional weight to what she's saying. There's such a grin-inducing rush to the way her shouted \"Hey!\" or \"Yeah!\" ad libs echo from the speakers. The acoustic guitar-based \"Just for Me\" is a teenage confession of an intense crush set to a 2-step shuffle (\"I'm obsessed with you in a way I can't believe\/When you wipe your tears, do you wipe them just for me?\"), and the drum'n'bass tracks, particularly the slamming \"Noticed I Cried\" and the sly \"Break It Off\" (based on Adam F's classic \"Circles,\" originally released six years before PinkPantheress was born), match the exhilarating beats with direct lyrics that aim straight for the heart. A pair of mellower tracks near the end, the dembow-inspired \"All My Friends Know\" and the lush, string-laden \"Nineteen,\" are more restrained yet just as considered and affectionate, pointing to a potential direction for an artist whose emergence was one of the most welcome left-field surprises of 2021.\u003c\/p\u003e\n\u003cp\u003eA1        Pain  1:39\u003cbr\u003eA2        I Must Apologise  1:48\u003cbr\u003eA3        Last Valentines  1:13\u003cbr\u003eA4        Passion  2:18\u003cbr\u003eA5        Just For Me  1:56\u003cbr\u003eB6        Noticed I Cried  1:22\u003cbr\u003eB7        Reason  2:12\u003cbr\u003eB8        All My Friends Know  1:59\u003cbr\u003eB9        Nineteen  2:33\u003cbr\u003eB10       Break It Off  1:36\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44928335610056,"sku":null,"price":33.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/71VB7dPvb5L._SL1425.jpg?v=1769715048"},{"product_id":"leon-thomas-mutt","title":"Leon Thomas - Mutt","description":"\u003cp\u003e\u003cstrong\u003eBLACK ICE VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn a matter of 13 months, Leon Thomas released Electric Dusk, his first album for Ty Dolla $ign's Motown-affiliated EZMNY label, and returned with MUTT, his second one. As a writer and producer, he also had a hand in multiple songs on Bryson Tiller's self-titled LP, Charlotte Day Wilson's Cyan Blue, and Vultures 1 and 2. Factoring all that, \"HOW FAST,\" the revved-up cinematic start to MUTT, could be heard as Thomas' escape from the studio to blow off steam and gloat. He's full of bravado, declaring himself a visionary, calculating his wealth, and hanging nightly at the strip club -- not the one where he broke up with his woman, mind -- though he avows that he should be settled down. Ambivalence and fleeting moments of certainty with regard to marital status fill Thomas' second album. Even the one that goes \"I'm a dog, I'm a mutt,\" a soul ballad retrofitted with hulking drums and bass, is less a player's anthem than an admission and warning. While the album is a model work of sonic cohesion, wild changes in emotion and perspective are not uncommon. Take how the protagonist swings from indignant isolation on \"FEELINGS ON SILENT\" to begging for connection on \"ANSWER YOUR PHONE.\" (The latter, a Diane Warren collaboration, is the only song Thomas didn't co-write.) Or how he follows \"MUTT\" with the finely-wrought \"I DO,\" a thankful love song trailed by the lithe \"I USED TO,\" a duet with Baby Rose that is all acid, bitter and sad. Most of the aforementioned action takes place near or during the second half. The section that precedes it contains some of Thomas' most creatively layered and emotionally complex songs yet. \"SAFE PLACE,\" urgent and defiant, knocking and blaring, inserts a sample of Donny Hathaway asking, \"Is that any way for a man to carry on?,\" and that can be taken as either support or objection. \"DANCING WITH DEMONS\" rides in on a foreboding bassline that gains strength when joined by a grinding Thomas guitar riff. \"VIBES DON'T LIE\" is so warped that it's easy to miss the humor (\"We like Weezy and Styrofoam\") and seemingly effortless falsetto on fogged-out display. Another latter-half highlight is \"YES IT IS,\" an expression of sexual possessiveness with a gospel-fied chorus worthy of any given '90s vocal group. This is all alluring in the manner of a good neo-noir film.\u003c\/p\u003e\n\u003cp\u003eA1        How Fast    2:55\u003cbr\u003eA2        Safe Place    2:39\u003cbr\u003eA3        Dancing With Demons    4:02\u003cbr\u003eA4        Vibes Don’t Lie    3:22\u003cbr\u003eA5        Lucid Dreams  3:46\u003cbr\u003eA6        Feelings On Silent  3:29\u003cbr\u003eA7        Answer Your Phone    4:02\u003cbr\u003eB1        Yes It Is    3:48\u003cbr\u003eB2        Far Fetched 4:08\u003cbr\u003eB3        Sooner Or Later 1:49\u003cbr\u003eB4        Mutt    3:13\u003cbr\u003eB5        I Do    2:41\u003cbr\u003eB6        I Used To  3:28\u003cbr\u003eB7        Mutt (Remix)  4:17\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44943104901320,"sku":null,"price":34.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/Leon_Thomas_-_Mutt.png?v=1771294208"},{"product_id":"leon-thomas-pholks-ep","title":"Leon Thomas - Pholks EP","description":"\u003cp\u003e\u003cstrong\u003eBLACK CLEAR VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLeon Thomas didn't need to release anything in 2025 to stay visible. The sleeper-hit title song from Mutt -- the musician's 2024 follow-up to the previous year's Electric Dusk -- was on the rise in May, when a deluxe version of Mutt landed with nine new songs and remixes. Five months later, \"Mutt\" was still climbing the Hot 100 and Thomas returned with this EP, digitally released just before he learned that he was up for six Grammys, including Album of the Year and Best New Artist, and issued on wax three months after that, coinciding with Grammy week. Given its timing and strength, Pholks is further proof of Thomas' prolific nature, no mere bone thrown to malnourished fans. Its seven songs spotlight the slightly lysergic funk-rock fusion of his band while Thomas, for the most part, works through a complicated relationship. The swift \"Just How You Are\" would fit better between Prince's \"Controversy\" and Teena Marie's \"Lovergirl\" than any two given songs on urban contemporary radio, yet it doesn't sound the least bit retro. In \"My Muse,\" Thomas is just as vexed, but not so much that he doesn't admire small details (\"Toes done even in the winter\") while cooking up a deceptively coasting groove outfitted with wriggling synthesizer bass and lilting strings. \"Baccarat,\" co-written by Lucky Daye and sure to please those who favor heavier LP highlights like \"Blue Hundreds\" and \"Dancing with Demons,\" is a cyclonic rager. Only slightly less notable are the eerie \"Feel Alive\" and the tender 4batz collaboration \"Lone Wolf.\" Thomas' hot streak continues.\u003c\/p\u003e\n\u003cp\u003eA1        Just How You Are    3:14\u003cbr\u003eA2        My Muse    2:46\u003cbr\u003eA3        5MoreMinutes    3:11\u003cbr\u003eA4        Trapped    3:06\u003cbr\u003eB1        Baccarat    3:39\u003cbr\u003eB2        Feel Alive    2:42\u003cbr\u003eB3        Lone Wolf    3:18\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44943105720520,"sku":null,"price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/Leon-Thomas-Pholks-EP-Cover.jpg?v=1771103954"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/collections\/FBgl2luX0AsC6e3.jpg?v=1770767366","url":"https:\/\/www.analogrecordshop.com\/collections\/68th-grammys.oembed?page=2","provider":"Analog Record Shop","version":"1.0","type":"link"}