Alabaster Jones

Reviews 18
Approval 99%

Soundoffs 768
Album Ratings 1120
Objectivity 66%

Last Active 03-19-16 3:32 am
Joined 06-28-13

Forum Posts 27
Review Comments 758

musical taste

Currently Digging:
La Dispute/Koji
Flying Lotus

favorite bands
Ministry Filth Pig
On Filth Pig, Ministry goes sludge. Do I really need to say anything more than that? No, but anyways, the band up until this point had been known for their fast-paced, manic take on industrial metal, and were one of the sole most influential bands in the genre. Filth Pig is like if you took the music that made them influential, like Psalm 69's, slowed it down a decent lot and added a mucky, ugly production job. The bass has a thunderous presence here, and the riffs are effectively simple and full of sludge. Al Jourgensen turns in a wickedly pissed off vocal performance, and the drums feel as organic and powerful as ever. Slowing down what onc
Sewer Election Wreck
Sometimes you can guess what an album is going to sound like based on its cover. One would think that Wreck would sound how it's cover looks: raw, grainy, bare, unflinching, dead. And yet, there's so much more to it than that. While many noise projects have the dubious quality of being one-note, Sewer Election evades this notion with startling professionalism and songwriting tact. What initially sounds haphazard and broken slowly unfolds and reveals itself as a carefully crafted juggernaut of harsh noise, constantly progressing in fluid motions while simultaneously sounding as if it's falling apart at the seams. The use of tape manipulation a
Sunn O))) White2
A follow up to White1, a largely boring, patience-testing record, White2 is much more worthwhile than its predecessor and is a pretty important record in Sunn O)))'s discography. This is because this is the first time where the band experimented with purely ambient sounds rather than simple droning guitars. Opener "Hell-O)))-ween" isn't indicative of this, though, as it sounds largely like the material that dominated early-2000's Sunn O))) albums. That said, "Bass Aliens" is an excellent track and undoubtedly the highlight here, with its uneasy atmosphere and it's use of ambient noises and feedback. "Decay" continues this trend, though not qu
James Blake Klavierwerke
Here we see James Blake begin a foray into the minimalistic side of the future garage/dubstep/alternative R&B sound he'd eventually master. These tracks are all decidedly minimal, with not a whole lot going on in terms of instrumentation. It's here where he'd start using his auto-tuned voice as an instrument, and in some cases, the sole instrument. All this being said, these tracks aren't nearly as fleshed out as they should be, and from a songwriting standpoint it's a bit of a regression from CMYK. Still, Klavierwerke was a necessary step in the full development of James' sound, which would finally come to realization on albums like his self
DJ Screw Chapter 106: On A Pint
1995 was a momentous year for DJ Screw. Two of his greatest tapes, the all-time classic Bigtyme Recordz Vol. II: All Screwed Up and the unforgettable 3 'N The Mornin': Part 2, were released to acclaim from the southern hip-hop community and Screw began to make himself known outside of Texas more widely than ever before. On A Pint is an early '95 tape, and it's easy to tell given the abundance of 70's funk, west coast gangsta rap, and some hometown brew in both song selection and freestyles. In fact, the tape opens with two freestyles in a row, both of which are pretty good, before sliding into the combination of g-funk and early funk classics
Blood Orange Freetown Sound
If this is what Freetown really does sound like, I may have to call my travel agency pretty soon here. Blood Orange has really keened in on consistency on Freetown Sound, because throughout the hour-long runtime, there isn't one song that is a dud or doesn't serve a definitive purpose. The mellowed, laid-back alternative R&B sound is still very much at play here, but it sometimes strays into more artsy waters. For instance, "Augustine" sounds extremely influenced by synthpop, and there is no doubting the sophisti-pop that also comes through when mixing the warm synth lines with jazzier elements. Of course, one could make the argument that it'
Miles Davis Dig
Dig just goes to show you that even though very little of what Miles Davis recorded in the early 50's is all that incredible, you'd be hard pressed to find a song that wasn't at the very least an enjoyable listen. These tracks, compiled from a 1951 recording session at Apex, are a simple, yet effective bunch, the title-track being the first song that Jackie McLean ever wrote and played on. The first half of the album features some great hard bop that really swings, while the second half slows things down to take a bluesier approach, which I'm sure can be surmised through the track titles alone. Sonny Rollins is also heavily featured on tenor

shoutbox » all posts 
  • BallsToTheWall You sold me to check out Ghost of a Dead Hummingbird's Under The Ultraviolet Light asap.
    July 25 04:58 PM
  • iloveyouall it's pretty much the perfect fusion of slam and dxc. should be a classic, not the failure it is widely considered. it absolutely nails the schlocky serial killer atmosphere it goes for and delivers in spades when it comes to groove... that pencil lead syringe is a similar example, but it goes more for the pure wall of sound approach, totally waylaying the grooves. have you checked the devouring humanity album that came out this year? you'd definitely dig.
    July 19 06:03 PM
  • iloveyouall at least 90% tbh. I feel like most are too concerned with trying to hate it to give it a proper chance... it's a shame really.
    July 19 05:25 PM
  • BallsToTheWall Thanks dude.
    June 28 11:04 PM
  • BallsToTheWall Can you link me to Draped Urn's EP?
    June 28 08:59 PM

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