{"title":"Daisy Chain Fields Artists","description":null,"products":[{"product_id":"olivia-rodrigo-sour","title":"Olivia Rodrigo - Sour","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOlivia Rodrigo became the brightest new pop star of 2021 with \"Driver's License,\" the single that broke streaming records and kicked off a string of number one hits. It's easy to hear why the song was so popular: As she sang about the plans that fall apart in the wake of a breakup and the sheer magnitude of her very first heartbreak, the rawness in Rodrigo's voice and lyrics spoke to those her own age and provided some potent flashbacks for those a little -- or a lot -- older than her. On the rest of her debut album Sour, she delivers on the potential of that blockbuster single and then some. Rodrigo nails what it's like to be 17, heartbroken, and frustrated, and updates the traditions of the sharp-eyed and sharp-tongued songwriters before her for Generation Z. Like her hero Taylor Swift, she's got a flair for details and a willingness to share every aspect of her heartache, even (or especially) the bitter side of it; on \"Happier,\" she sings to her ex, \"I hope you're happy\/But don't be happier.\" Her ability to pair a sizeable amount of disdain with equally big hooks recalls Lorde on the slinky self-loathing of \"Jealousy, Jealousy,\" and there are even shades of Alanis Morissette's jagged, jilted younger woman in \"Deja Vu\"'s hyper-literate litany of tarnished memories. Rodrigo expands on \"Driver's License\" with similarly barbed and self-aware power ballads like \"Traitor,\" which captures the pain when an ex rebounds more quickly than expected, and with the folky introspection of \"Favorite Crime,\" where she reflects on how her desperation to hang onto a relationship made her culpable in her own pain. However, Sour might be even more vital when Rodrigo lashes out on the album's rock-tinged songs. She revels in her anger on \"Good 4 U\"'s sneering verses and pogo-ing choruses, letting the drum rolls build up a head of steam that the riffs unleash, and begins the album with a surprisingly punky blast of angst on \"Brutal,\" where she tears down the idealization of teenage years (\"I'm so sick of seventeen\/Where's my fuckin' teenage dream?\") over guitars that are the musical equivalent of an eyeroll. Moments like these lend another exciting dimension to her music, even if she takes a few steps beyond the rest of the album's fury on the tender closing track \"Hope Ur OK.\" Rodrigo wants to be taken seriously as a songwriter, and she should be -- her combination of sweet melodies and bitter moods, her conversational flow, and her self-awareness are all skills many songwriters twice her age would love to call their own, and they make Sour a well-rounded emotional journey and strong debut album.\u003c\/p\u003e\n\u003cp\u003eA1        Brutal\u003cbr\u003eA2        Traitor\u003cbr\u003eA3        Drivers License\u003cbr\u003eA4        1 Step Forward, 3 Steps Back\u003cbr\u003eA5        Deja Vu\u003cbr\u003eA6        Good 4 U\u003cbr\u003eB1        Enough For You\u003cbr\u003eB2        Happier\u003cbr\u003eB3        Jealousy, Jealousy\u003cbr\u003eB4        Favorite Crime\u003cbr\u003eB5        Hope Ur Ok\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44185615597768,"sku":"","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/products\/91G12_C2qfL._SL1500.jpg?v=1657054862"},{"product_id":"mitski-land-is-inhospitable-so-are-we","title":"Mitski - The Land Is Inhospitable \u0026 So Are We","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMitski spent the early part of her recording career establishing herself as an authentic voice of the alienated, marginalized, and romantically hapless with a string of candid indie rockers like \"Your Best American Girl\" and the eventually gold-certified \"I Bet on Losing Dogs\" before surprising fans and winning new ones with a quasi-synth pop album in the form of 2022's Laurel Hell. While that record's outlook remained similar to its predecessors, its glossier textures and ironic hooks launched her into the Top Five of the Billboard 200, her first time even cracking the Top 50. It may or may not come as a surprise, then, that she makes a stylistic sharp left turn with the more reserved, acoustic-leaning The Land Is Inhospitable and So Are We, a quasi-country album. With cited influences spanning Ennio Morricone, Faron Young, Caetano Veloso, and Arthur Russell, among others, it was recorded with her longtime producer, Patrick Hyland, with her band on hand live in the studio, and with a (judiciously employed) orchestra and 17-piece choir. The album begins evocatively, with the image of a bug stuck to the bottom of glass of booze on \"Bug Like an Angel,\" and we know that chart success hasn't spoiled our anti-heroine. By the end of the first verse, the song's gentle vocals and strummed acoustic guitar are bombarded by a unison choir echoing the word \"family\" (\"Sometimes a drink feels like family\"). The choir later emphasizes the phrase \"They break you right back.\" Western themes are soon introduced on the spare, grungy second track, \"Buffalo Replaced,\" whose imagery includes mosquitoes and a freight train before steel guitar and Western swing make their first appearances on the tender, fully arranged \"Heaven.\" Mitski returns to that song's orchestrated country stylings several more times here, including on tracks such as the pleading, potential outcast anthem \"I Don't Like My Mind,\" the seductively languid earworm \"My Love Mine All Mine\" (\"Nothing in the world belongs to me but my love\"), and the more uptempo \"The Frost,\" whose buoyant melody proves wry as the singer considers, \"You're my best friend\/Now I've no one to tell\/How I lost my best friend.\" Toward the end of the 11-track set, the distinctly dark and immediate \"I'm Your Man\" (\"You believe me like a god\/I betray you like a man\") juxtaposes its glee club-like harmony choir with thudding percussion and recordings of barking dogs, crickets, and a shriek. Mitski has left the twang in the mud-specked rearview mirror by the time the album closes on the simmering rocker \"I Love Me After You,\" in which she refers to her lover as \"king of all the land,\" making the point that, for her, love pervades everything, including the terrain.\u003c\/p\u003e\n\u003cp\u003eA1        Bug Like An Angel\u003cbr\u003eA2        Buffalo Replaced\u003cbr\u003eA3        Heaven\u003cbr\u003eA4        I Don't Like My Mind\u003cbr\u003eA5        The Deal\u003cbr\u003eB1        When Memories Snow\u003cbr\u003eB2        My Love Mine All Mine\u003cbr\u003eB3        The Frost\u003cbr\u003eB4        Star\u003cbr\u003eB5        I'm Your Man\u003cbr\u003eB6        I Love Me After You\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44194278637768,"sku":"","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/a2771200531_10.jpg?v=1774470001"},{"product_id":"mitski-be-the-cowboy","title":"Mitski - Be The Cowboy","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTwo years after her 2016 album Puberty 2, a release that led to tours with Lorde and Pixies and moved her out of the smaller clubs as a headliner, Mitski Miyawaki took the unusual step of trying to warn fans via social media and interviews about her next album. Saying that it wasn't going to be as personal, she implied that those who related to her and tracks like \"Your Best American Girl\" might be disappointed that she was setting aside the perspective of an outsider longing to fit in. Instead, the follow-up, Be the Cowboy, finds her adopting the persona of a married woman who fits in and lives up to expectations but longs to break free. Song titles like \"Me and My Husband\" and \"Washing Machine Heart\" hint at what's in store. What hasn't changed is Mitski's intense, impulsive style of songwriting and arranging that, while often catchy, can keep listeners off-balance. (The album was produced by Puberty 2's Patrick Lyland.) Case in point, some of the tracks here are polished with a sparkling synth palette, yet nothing feels slick and easy. Rather, the sheen is conspicuous, seeming to symbolize artifice on songs like the synth poppy \"Why Didn't You Stop Me\" and the disco-injected \"Nobody.\" As if to underscore the idea of unreliable appearances, the former offers the line \"I look for a picture of you to keep in my pocket, but I can't seem to find one where you look like I remember.\" Right from the overshot volume on the album's opening organ attack, abrasive sounds also put cracks in the surface. Stomping, clapping, and relentless keyboard bleeps permeate the brutal, danceable \"Washing Machine Heart,\" evoking the appliance as well as the wife's frustration (\"I'm not wearing my usual lipstick\/I thought maybe we would kiss tonight\"). Elsewhere, \"Me and My Husband\" opens unambiguously with a heavy sigh. After passing moments of more raucous rock, atmospheric synths, dance rhythms, irregular percussion, melodic sweetness, and dissonance, Be the Cowboy closes on the tender \"Two Slow Dancers,\" the album longest track at four minutes. Wistful, string-like keyboard tones accompany sentimental lyrics that conclude that the couple has grown apart. In the end, rather than being a disappointment, Be the Cowboy's point of view provides a brilliant twist, one that channels all the unease, unpredictability, and intuitiveness of Mitski's previous work -- even for those who don't take in the lyrics.\u003c\/p\u003e\n\u003cp\u003eA1        Geyser    2:24\u003cbr\u003eA2        Why Didn't You Stop Me?    2:22\u003cbr\u003eA3        Old Friend    1:53\u003cbr\u003eA4        A Pearl    2:36\u003cbr\u003eA5        Lonesome Love    1:51\u003cbr\u003eA6        Remember My Name    2:15\u003cbr\u003eA7        Me And My Husband    2:17\u003cbr\u003eB1        Come Into The Water    1:32\u003cbr\u003eB2        Nobody    3:13\u003cbr\u003eB3        Pink In The Night    2:17\u003cbr\u003eB4        A Horse Named Cold Air    2:03\u003cbr\u003eB5        Washing Machine Heart    2:08\u003cbr\u003eB6        Blue Light    1:44\u003cbr\u003eB7        Two Slow Dancers    3:59\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":42946273411272,"sku":"","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/715eixOr5dL._SL1500.jpg?v=1697680151"},{"product_id":"olivia-rodrigo-guts","title":"Olivia Rodrigo - Guts","description":"\u003cp\u003e\u003cstrong\u003eLAVENDER VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe meteoric rise Olivia Rodrigo experienced after Sour would have been thrilling and challenging for any artist, but navigating the cusp of adolescence and adulthood at the same time gave her a bounty of material for her second album. GUTS reveals that she didn't crumble under expectations -- instead, she took notes. Recorded with returning producer Daniel Nigro in the same garage studio where he and Rodrigo made Sour, the album hones in on her soaring, soul-baring ballads and spiky pop-punk manifestos and perfects them. \"Driver's License\" may have been her debut album's mega-hit, but many fans connected with fiercely catchy singles like \"Good 4 U.\" Several of GUTS' standouts are in the same throbbing vein: Rodrigo cringes at herself and throws shade at an old flame on the new wave-y \"love is embarrassing.\" She makes mistakes gleefully on \"bad idea right?,\" a witty recollection of hooking up with an ex that rivals Wet Leg when it comes to chugging post-punk-pop with droll singalong choruses. Songs like these suggest that Rodrigo's record collection is growing along with her confidence, and though the way \"all-american bitch\" swings from deceptively winsome folk to raging punk shares pages with Phoebe Bridgers' and Courtney Love's songbooks, she ties it all together even more convincingly than she did on Sour. Likewise, GUTS' not-too-raw, not-too-slick production bolsters her talent for giving complex moods wide appeal. The song \"get him back!\" tangles revenge and longing in some of the album's most scathing lyrics (\"I wanna meet his mom\/Just to tell her her son sucks\"), but it sounds like a direct hit. This gift is almost as uncommon as her ability to write lyrics so relatable that it feels like she's read her fans' diaries -- or minds. Rodrigo confronts the sting of second and third heartbreaks with hard-earned wisdom, and tracks like \"making the bed\" and \"logical\" add a refreshing dose of self-awareness to the catharsis of \"Driver's License.\" And while \"vampire\"'s recriminations against older men who leech off of her and \"sell (her) for parts\" may not reflect the everyday reality of her listeners, it brings them into her world with as much authenticity as her other ballads. GUTS even features songs her listeners might not know they need yet: The breathy \"pretty isn't pretty\" tackles lookism and body dysmorphia, near-universal experiences for young women with surprisingly few songs written about them. Rodrigo does a remarkable job of balancing moments that are very much of the time when she made the album with moments that hint at more: \"teenage dream\" yearns for the day when she won't be wise beyond her years, and \"lacy\" explores the intricacies of jealousy and yearning with nuance that a singer\/songwriter of any age would be proud to possess. GUTS is emphatic proof that Rodrigo isn't just good for a kid -- she's grown into an artist with plenty of things to say, and the confidence and eloquence to say them her way.\u003c\/p\u003e\n\u003cp\u003eA1        All-American Bitch\u003cbr\u003eA2        Bad Idea Right?\u003cbr\u003eA3        Vampire\u003cbr\u003eA4        Lacy\u003cbr\u003eA5        Ballad Of A Homeschooled Girl\u003cbr\u003eA6        Making The Bed\u003cbr\u003eA7        Logical\u003cbr\u003eB1        Get Him Back!\u003cbr\u003eB2        Love Is Embarrassing\u003cbr\u003eB3        The Grudge\u003cbr\u003eB4        Pretty Isn't Pretty\u003cbr\u003eB5        Teenage Dream\u003cbr\u003eB6        Obsessed\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44185603735752,"sku":"","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/91rzIsvpwjL._UF894_1000_QL80.jpg?v=1699999373"},{"product_id":"mitski-bury-me-at-makeout-creek","title":"Mitski - Bury Me At Makeout Creek","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe singer and songwriter's critical breakthrough and lone album for Double Double Whammy, Bury Me at Makeout Creek was Mitski's first record to be written for guitar after a pair of piano-based collections that she wrote for school projects. Grungy, impulsive, and with memorably acerbic, vulnerable lyrics, Bury Me at Makeout Creek (named for a line delivered by Milhouse on The Simpsons) was the product of a particularly exhausting period that had Mitski presenting those projects and trying to complete her degree while working outside jobs. Her predicament is explicitly mentioned on tracks including \"Jobless Monday,\" in which she doubts the affection of her partner at the same time that she \"Can't afford to buy my food\/Or the drive I need to go further than they said I'd go,\" and the marching class protest \"Drunk Walk Home\" (\"F*ck you and your money\"), a song that ends in repeated screams. First, however, she offers a transition from her previous work on the two-minute, poetry-quoting \"Texas Reznikoff,\" which takes the form of a wispy acoustic guitar song to open the album before exploding into plugged-in cynicism halfway through -- with no looking back until the acoustic closer (\"Last Words of a Shooting Star\"). In the interim, she delivers swooping melodies and buzzing guitar on \"I Don't Smoke\" (\"So if you need to be mean\/Be mean to me\/I can take it and put it inside of me\"), adopts a mocking, '60s girl group approximation on \"First Love\/Late Spring\" (\"So please hurry, leave me, I can't breathe\"), and on a highlight among passionate, frustrated highlights, draws on classic, tuneful alt-rock on the rebellious \"Townie\" while dropping graphic metaphors like, \"I want a love that falls as fast as a body from the balcony\/And I want to kiss like my heart is hitting the ground.\" An auspicious if fatalistic label debut, Bury Me was produced by Patrick Hyland, who returned for Mitski's later commercial successes, including her Billboard 200 Top Five debut, Laurel Hell.\u003c\/p\u003e\n\u003cp\u003eA1        Texas Reznikoff\u003cbr\u003eA2        Townie\u003cbr\u003eA3        First Love \/ Late Spring\u003cbr\u003eA4        Francis Forever\u003cbr\u003eA5        I Don't Smoke\u003cbr\u003eB6        Jobless Monday\u003cbr\u003eB7        Drunk Walk Home\u003cbr\u003eB8        I Will\u003cbr\u003eB9        Carry Me Out\u003cbr\u003eB10        Last Words Of A Shooting Star\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":43184353542344,"sku":"","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/61InAXMb-7L._SL1200.jpg?v=1706751775"},{"product_id":"mitski-puberty-2","title":"Mitski - Puberty 2","description":"\u003cp\u003e\u003cstrong\u003eBLACK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBased in Brooklyn but with an unsettled background that called over a dozen countries on multiple continents home before she reached her twenties, Mitski Miyawaki makes her Dead Oceans debut with her fourth album, Puberty 2. Her background is not irrelevant here, as the album reflects her own, very personal -- and intentional or not, her generation's -- crisis of belonging as she recounts stories of navigating young adulthood in the City. A visceral work that shares the immediacy of classic punk and confessional singer\/songwriter fare at once, Puberty 2 takes listeners behind closed doors with the kind of no-holds-barred lyrics that are likely to leave a lasting impression. The opener \"Happy\" is full of bite and irony as she describes a hook-up and his stealthy exit in a context of grooving rhythms, a catchy melody, and poppy saxophone solos. Through it all in the background -- though it's brought to the fore in the intro and outro -- is the relentless pounding of a drum. Understated guitar and synths mark the infectious \"Fireworks,\" which has Mitski predict, almost deadpan, \"One morning this sadness will fossilize\/And I will forget how to cry.\" As the song builds momentum, many listeners will catch themselves bobbing heads in time despite its despondent lyrics. The fuzzier \"Your Best American Girl\" plays more like a power ballad as the singer, whose mother's side of the family is Japanese, laments the end of a relationship with an \"All-American boy.\" The break-up is at least partly due to the predicted disapproval of his mother. A two-minute punk anthem for the nation's youth and beyond, \"My Body's Made of Crushed Little Stars\" frets \"I wanna see the whole world\/I don't know how I'm gonna pay rent.\" Here her voice lets loose, shouting and gasping, in sharp contrast to the deliberate self-control of some of the other tracks. Fearless and affecting from beginning to end, Puberty 2, while certainly individualistic, has the potential for far-reaching relatability.\u003c\/p\u003e\n\u003cp\u003eA1        Happy\u003cbr\u003eA2        Dan The Dancer\u003cbr\u003eA3        Once More To See You\u003cbr\u003eA4        Fireworks\u003cbr\u003eA5        Your Best American Girl\u003cbr\u003eB1        I Bet On Losing Dogs\u003cbr\u003eB2        My Body's Made Of Crushed Little Stars\u003cbr\u003eB3        Thursday Girl\u003cbr\u003eB4        A Loving Feeling\u003cbr\u003eB5        Crack Baby\u003cbr\u003eB6        A Burning Hill\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":43184408002760,"sku":"","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/81jFWzyevvL._SL1400.jpg?v=1706752741"},{"product_id":"chappell-roan-rise-fall-of-a-midwest-princess","title":"Chappell Roan - The Rise \u0026 Fall of a Midwest Princess","description":"\u003cp\u003e\u003cstrong\u003eAvailable in 4 Variants\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eChappell Roan's first studio full-length, The Rise and Fall of a Midwest Princess, is an absolute breath of fresh air in a crowded pop landscape. Playful, a little naughty, and full of heart, this debut brims with spirited pop gems that stick in the brain long after the album is finished. Blending the youthful Gen Z delivery of Olivia Rodrigo, the best-friend-approachability of Taylor Swift, and the songcraft of Maggie Rogers, Roan is the main draw here, taking whatever producer Dan Nigro (Kylie, Rodrigo, Caroline Polachek) throws at her and making it irresistible. Opener \"Femininomenon\" perfectly captures the album's ethos as it transforms from a sweet, string-laden ballad into a pulse-pounding empowerment anthem punctuated by a mid-song pep talk and hilariously escalating adlibs demanding a \"fucking beat.\" From there, it's a nonstop flood of catchy, synth-backed anthems that could lay waste to mainstream radio if given the chance. The playfully horny \"Red Wine Supernova\" rides a bubbly beat, Roan's pure voice and the girl gang background vocals boost the energy, and the funky strut of the confident, boyfriend-stealing \"After Midnight\" turns the lights down low as Roan purrs that \"everything good happens after midnight.\" Taking Taylor's Midnights hit one step further, Roan takes aim at an ex on the sardonic, synth-laden \"My Kink Is Karma,\" where she finds pleasure in the little things like watching them \"ruin [their] life... losing [their] mind... [and] crashing [their] car.\" There's a handful of delicate ballads (\"Coffee,\" \"Casual,\" \"Picture You,\" \"Kaleidoscope\") peppered amongst the pogo-bounce singalongs (\"HOT TO GO!\" and early hit \"Pink Pony Club\") that offer a few moments of rest while the party continues. On an album packed with highlights, standouts include the '80s-synth throwback \"Super Graphic Ultra Modern Girl\" -- a cowbell-laden, late-night party saga that explodes with one of the most rousing choruses on Midwest Princess -- and the closer, \"Guilty Pleasure,\" which mirrors the opening track's quiet-to-loud approach, morphing from warm dream pop into pulsing electro-pop. Bold and fearless, Chappell Roan's The Rise and Fall of a Midwest Princess is the best kind of pop album: it captures a generational zeitgeist and introduces the world to a refreshing new voice that can hopefully stand the test of time and a fickle industry.\u003c\/p\u003e\n\u003cp\u003eA1        Femininomenon\u003cbr\u003eA2        Red Wine Supernova\u003cbr\u003eA3        After Midnight\u003cbr\u003eA4        Coffee\u003cbr\u003eA5        Casual\u003cbr\u003eB1        Super Graphic Ultra Modern Girl\u003cbr\u003eB2        Hot To Go!\u003cbr\u003eB3        My Kink Is Karma\u003cbr\u003eB4        Picture You\u003cbr\u003eB5        Kaleidoscope\u003cbr\u003eC1        Pink Pony Club\u003cbr\u003eC2        Naked In Manhattan\u003cbr\u003eC3        California\u003cbr\u003eC4        Guilty Pleasure\u003c\/p\u003e\n\u003c!----\u003e","brand":"Analog Record Shop","offers":[{"title":"Popstar Edition (Black Vinyl)","offer_id":44185627361480,"sku":"","price":39.99,"currency_code":"USD","in_stock":true},{"title":"Deluxe Edition (Black Vinyl)","offer_id":44185627394248,"sku":"","price":64.99,"currency_code":"USD","in_stock":false},{"title":"Anniversary (My Kink is Coral Vinyl)","offer_id":44185627427016,"sku":"","price":66.99,"currency_code":"USD","in_stock":true},{"title":"Anniversary (Peaches and Cream)","offer_id":44356880466120,"sku":"","price":39.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/agcrn2c7b6v7b_600.jpg?v=1717455185"},{"product_id":"chappell-roan-pink-pony-club-7","title":"Chappell Roan - Pink Pony Club 7\"","description":"\u003cp\u003e\u003cstrong\u003eBABY PINK VINYL\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA        Pink Pony Club\u003cbr\u003eB        Naked In Manhattan\u003c\/p\u003e","brand":"Analog Record Shop","offers":[{"title":"Default Title","offer_id":44608474939592,"sku":"","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0348\/8505\/files\/41sAov2OpTL._SL1000.jpg?v=1745879538"},{"product_id":"chappell-roan-the-giver-7","title":"Chappell Roan - The Giver 7\"","description":"\u003cp\u003e\u003cstrong\u003eavailable in 5 cover variants\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAll 5 limited edition cover\/color variants of The Giver from Chappell Roan. 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Staying on her own across the country from L.A. in snowy upstate New York at the time, she found a guiding question in: Is love worth the pain? The resulting solo debut, Melt, shares some pillowy musical essence with the Marías but lands somewhere more intimate, introspective, and searching as well as even more dreamily atmospheric. Using the alias Not for Radio, she recorded the album with Submarine's Gianluca Buccellati, and Sam Owens (Sam Evian), owner and operator of Flying Cloud Recordings studio in the Catskills. As represented by track titles like \"Puddles,\" \"Swan,\" and \"Slip,\" nature and weather worked their way into the songs, as did her isolated, heart-damaged state. With a wispy vocal delivery that pervades the record, \"My Turn\" is a 1960s-evoking keyboard ballad with slinky bass and alternating spare and spiraling sections. Songs like \"Back to You\" (\"I hope it brings me back to you\") pine and sigh through a more persistent shimmery atmosphere, whereas the acoustic-rooted \"Vueltas\" has a Spanish\/Latin flair throughout a track that nonetheless enters the ether. Melt ends on the trip-hop-inflected \"Slip,\" which, with an implied futility, begs her companion not to go. 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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. 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Indeed, Rodrigo's songs see and express the heartaches of her fans so eloquently that it's no wonder she was able to play one of the world's biggest music festivals. Nor is it hard to hear why her show was hailed as one of Glastonbury 2025's standout performances. The well-chosen set list complements the hits with deeper cuts like \"Jealousy, Jealousy,\" a highlight from Sour. As she brings that album and Guts to life, Rodrigo balances pop pageantry and rock muscle perfectly. She bookends the set with the spiky, witty diary entries that she does so well, giving \"Obsessed\" and \"Brutal\" more grungy bite than the studio versions. Even during the ballads that make up the heart of the concert, Rodrigo keeps the energy high and the audience riveted. \"Vampire\" builds from a hush quiet enough to catch the crowd singing every word to a roar; \"Driver's License,\" the song that launched her career, becomes a communal anthem as the crowd echoes its heartbreak back to her.\u003c\/p\u003e\n\u003cp\u003eThroughout the show, Rodrigo might be even more excited to play for her fans than they are to see her perform -- her vocals are strong yet endearingly breathy as she runs, dances, and commands the stage. She's ridiculously charming when she addresses the crowd, singing the praises of sticky toffee pudding and namechecking Pulp as one of her favorite bands. It's still no preparation, however, for the delighted shock of tens of thousands of concertgoers when she brings the Cure's Robert Smith on-stage to perform \"Friday I'm in Love\" and \"Just Like Heaven.\" Like Rodrigo, Smith is an expert at tapping into eternal teenage hope and angst, and their duets make those well-worn songs sound brand-new. Crowd-pleaser that she is, Rodrigo closes the show with renditions of \"Good 4 U\" and \"Get Him Back\" that manage to outshine the finale fireworks. 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All songs and vocals are by Mitski. The album was produced and engineered by Patrick Hyland and mastered by Bob Weston, with assistance on drums and logistics from Kris Bulakowski. Continuing the musical through line established with The Land Is Inhospitable and So Are We, the album features live instrumentation by The Land touring band and ensemble arrangements. The orchestra was recorded at Sunset Sound and TTG Studios, arranged and conducted by Drew Erickson, engineered by Michael Harris, with additional engineering by Isaac Diskin and assistance from Alex Miller. Standout singles include “Where’s My Phone?,” “I’ll Change for You,” and “If I Leave.” Mitski is currently writing the music and lyrics for the musical adaptation of The Queen’s Gambit. 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In the middle of making her third album, her first \"big-girl relationship\" ended, giving her the opportunity to document the relationship from beginning to end -- as well as her artistic growth. There's no four-letter album title, no violet-dominated album cover, and (almost) no dunking on frustrating guys. Instead, Rodrigo and longtime producer Dan Nigro have made a capital-A Album about how devastating, and transformative, it is to give yourself to someone completely and then lose it all.\u003c\/p\u003e\n\u003cp\u003eEvery aspect of pretty sad reflects this higher level of craft. The album's sound is a winning update of '80s new wave and synth pop worthy of a John Hughes soundtrack that shines especially brightly on the New Order-worshipping \"u + me = \u0026lt;3.\" Its chronological structure lets Rodrigo's feelings fly so high on the first half with \"honeybee\" -- which builds into a grand musical gesture of love with strings and a choir -- that when they fall on the second half with \"begged\"s desperate honesty, it's no wonder her heart shatters on impact. While Rodrigo's emotions may be all over the place, she expresses them with some of her most cohesive songwriting. Images of sickness, flatness, and unraveling appear even in seemingly happy moments like \"maggots for brains,\" an iridescent tribute to how dull everything is when the one you love is gone. Lovesickness is literal and physical on \"less,\" where her head and body are \"protesting\" over a poignant piano melody indebted to her love of Billy Joel.\u003c\/p\u003e\n\u003cp\u003eRodrigo's biggest influence on you seem pretty sad for a girl so in love, however, is the Cure's Robert Smith. Since their duet at her 2025 Glastonbury performance, they've been inspired collaborators. Not only do their voices sound great together, both distill the highest highs and lowest lows in ways that resonate with millions. Smith's figurative or literal presence shapes the album, whether Rodrigo namechecks \"Just Like Heaven\" on the soaringly romantic opener \"drop dead\" or their camaraderie on \"What's Wrong with Me\" makes the end of a relationship feel oddly heartwarming. And though she stated \"the cure\" doesn't refer to Smith and company, it's a happy coincidence that the album's finest moment shares the name of his band -- and that it's easy to imagine him singing broodingly self-aware lines like \"But my head is full of poison\/And my heart is full of doubt.\"\u003c\/p\u003e\n\u003cp\u003eRodrigo devotes so much care to the album's evolving sound and mood that at first it's hard to notice the lyrics aren't always up to her level of detail. Among the many ballads, \"my way\"'s bite is refreshing, yet its generic put-downs ring hollow. There are still some memorable barbs and insights, not the least of which is \"It's bone-dry, bitter and hollow\/You will never know my sorrow\/Why'd I try at all?\" from \"cigarette smoke,\" a more mature incarnation of the heartbreak Rodrigo has mastered since \"Driver's License.\" you seem pretty sad for a girl so in love's tight focus on falling in and out of love also leaves little room for the empowering wit that made GUTS and Sour so engaging, though \"expectations\" is a sharp, synth-driven reminder of how she excels at drawing a line between herself and guys who fall short.\u003c\/p\u003e\n\u003cp\u003eEven if it's not quite as much fun as Rodrigo's previous albums, you seem pretty sad for a girl so in love is an accomplished introduction to the next phase of her career. 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