The recent arrest of Young Thug has been a major setback in the alt-rap landscape, but his gifted protégé is keeping the torch lit. – Clare Flanagan Though sonically adventurous, DFTK is a remarkably cohesive listening experience-guests like the experimental composer Eartheater and TikTok-famous Yeat sound equally at home amidst emphatic boasts and hyperpop-tinted flourishes. Somehow, this song segues beautifully from “down (one kount),” despite inconsonant moods and beats. “ I don’t even wanna save her/ ain’t no logic to human behavior,” he sings on “save her,” accompanied by dial tone-like beeps and a sampled children’s choir.
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But the young artist displays a melodic instinct and lyrical sharpness all his own. As the track builds energy and volume, incorporating blocky 8-bit synths that recall Young Thug’s “Drippin,” his Atlanta alt-rap influences become clear-Thug himself is one of Kayo’s mentors. From the first notes of opener “down (one kount)” -a cascade of crystalline plinks-it’s evident that DFTK is no run-of-the-mill debut. – Jeff TerichĪt just 18, DMV-raised rapper Yung Kayo has made one of the year’s most inventive, engaging rap records. It’s not necessarily a surprise that, after a decade, Olsen would circle back around to the country influence that’s lingered in her music since the beginning, but it’s still wonderful to hear her deliver it in such a blockbuster production. Written after Olsen’s life-changing experiences of both coming out as queer (and falling in love) and losing both of her parents, Big Time offers a lot to process through some of the prettiest songs she’s ever written.
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It sounds big, certainly, in the way that a ’70s-era country blockbuster record might (albeit with a contemporary twist, and occasional shades of Mazzy Star), but it’s also heavy on feelings, both love and grief in equal measure. – Jeff TerichĪngel Olsen brought her Nashville best to Jimmy Kimmel Live earlier this month-backed by an ensemble that featured a violinist and a pedal steel player-in celebration of the release of Big Time, a record that lives up to its name in myriad ways. And over the course of just a few tracks the group will transition from the punchy “Floating Skulls” and psychedelic title track to the climactic dirge “Blinded by a Blaze.” It’s Cave In’s most epic odyssey, and by god they’ve earned it.
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On first listen it might seem even overwhelming, but the level of inspiration and invigoration behind their seventh album is apparent from the first crunch of a riff on “New Reality.” The group’s first album to be recorded in a proper studio setting in over a decade is also one of their most purely enjoyable, balancing their classic space-metal sonics with the accessibility of Superunknown-era Soundgarden and towering melodies throughout. In fact we do not really care with any genres.Heavy Pendulum is Cave In’s longest album to date, a fact that feels staggering given how massive so many of the Boston metal group’s previous albums felt, as well as how many more projects each individual member is involved in (including the fact that their new bassist, Nate Newton, is a full-time member of Converge). Our musical interrests are : post-pop, alt- and neo- folk, post-rock, experimental musics, wild music, marginal and outsiders artists.
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So we make cd-recordings and net-recordings (all the stuff is under Creative Commons licence). since 2002, based in Europe (somewhere between France and Belgium). DESCRIPTION Another Record is a "net.label" and a "real-world label".