Alabaster Jones

Reviews 17
Approval 99%

Soundoffs 195
Album Ratings 548
Objectivity 66%

Last Active 07-06-15 9:22 pm
Joined 06-28-13

Forum Posts 19
Review Comments 613

musical taste

Currently Digging:
Son Lux
Trophy Scars

favorite bands
Meek Mill Dreams Worth More Than Money
Meek Mill is a guy I've always considered to be one of the better lyricists in trap rap. Granted, that isn't saying much, but he's at the very least competent lyrically, while also having a fantastic presence on the microphone, a charged and heavy-handed delivery, and that contagious charisma that every trap rapper needs. He does all of this in spades on his sophomore full-length, and manages to surprise near the end of the album as well. While things get off to a roaring start with "Lord Knows", there isn't a song matching it's quality for a while, even though they are still good fun. Still, once "Check" comes through, it starts a chain of f
La Dispute Untitled
Though it may only be two songs, this EP from the polarizing post-hardcore quintet known as La Dispute showcases some truly great things about the band in its nine-minute runtime. Both of the songs are very good, and contain the most technically proficient guitar playing they've ever done at this point in their discography. With plenty of riffs to have things moving, there are also plenty of subdued passages that the band implements so well. Dryer's vocals are still very much like they were on Somewhere At The Bottom...(whether that's good or bad is up to the listener), but his lyrics are typically fantastic, especially on "Shall Never Lose I
The Cure Three Imaginary Boys
Here we see the humble beginnings of a band that was to become one of the most famous, and most important, in the history of gothic rock and post-punk. This record consists of catchy, bassy post-punk that is very solid throughout its runtime. It's true standout moment is the title-track, which takes the aforementioned formula and combines it with swirling guitars and echoing vocals. It takes a bit to get to this standout track, though, and while no track on the record is bad, some of them can bleed into each other a bit due to the repetitive nature of the formula the band decides to go with here. Still, it clocks in at a mere thirty-three min
Abyssal Antikatastaseis
Hailing from the UK, the multi-instrumentalist known only as G.D.C. has been working at his atmospheric blackened death metal craft for four years now in the one man project called Abyssal, but several notable improvements have been made on this, his third LP. His use of melody in these tracks is impressive, with the eerie, ominous riff that dominates "Chrysalis" and the strangely uplifting end to "The Cornucopian". He also hired a studio drummer, Timo Hakkinen, to replace the drum machine implemented on his previous works, which turns out to a worthwhile investment, as the drumming seems much more natural and fluid this time around. Experime
Swans Greed
In contrast to their massive one-two punch of unrelenting heaviness and brutality to start their career in Filth and Cop, the Swans we see here are much more subdued, and also more open to experimentation. Michael Gira actually attempts to sing this time around, most notably on the piano-driven opener "Fool". The closer, "Money Is Flesh", is paced by a drum machine and some high-pitched synthesizers coming in ever so often. The middle of the record isn't too eventful, and though nothing particularly bad happens here, it isn't necessarily the most entertaining music Swans put together on the record. Still, with the aforementioned good qualitie
Son Lux Bones
Somehow, trip-hop producer Ryan Lott, better known as Son Lux, was able to turn shimmering rays of light into sounds. That's really what I can gather from this record, it sounds like it's alive with beams of light. From the stellar and beautiful trip-hop production on the tracks, that all seem to have some sort of weird noise as the crux of their beat, to the pianos and strings that are always put to great use on Lott's records, we have a lot going on here. It's not overbearing, though, as the album paces itself pretty nicely by having some great stuff in the beginning ("Flight", "You Don't Know Me") and some absolutely masterful tracks at th
Washed Out High Times
One of the esteemed members of the chillwave scene, Washed Out has been making atmospherically potent electronic music for a but now. While nowadays he seems to stick to the formula of airy and ethereal production surrounding swirling vocals, his formula was a but different back we he began. Sure, the tracks "Belong" and "Phone Call" bring the signature Washed Out sound, but it's the shorter, vocal-less tracks like "Good Luck" and "Luck" that show another side of him on this, his debut EP. The production is kind of lo-fi, with a constant stream of static behind the music on every track. The record has an authentic charm, while at the same tim

shoutbox » all posts 
  • mryrtmrnfoxxxy sweet soundoff btwq
    June 4 03:45 PM
  • mryrtmrnfoxxxy youre missing the last 2 tracks on predatory headlights
    June 4 03:41 PM
  • CK Some of those riffs though, holy crap
    June 1 11:07 PM
  • CK Just listened to Endless. The melody was great, but I can't say I dug the breakdown too much...
    June 1 11:00 PM
  • CK Not gonna list your rec cuz you already rec'd two, and I'm trying to keep a limit of two per person, but I'm listening to the Crinn now so I don't forget. Some interesting production, but really good music!
    June 1 10:55 PM

You have to be logged in to post a comment Login | Create a Profile


Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Site Copyright 2005-2014
All Album Reviews Displayed With Permission of Authors | Privacy Policy