Draggo Reviews

Liturgy - Aesthethica (2011)

“Good art should be polarizing”

Liturgy is an odd band. It comes as no surprise really. They make black metal that would make most hardcore "trve kvlt" black metal fans write salty reviews online on how far black metal has fallen. Calling Liturgy pretentious and unmemorable. Me personally; I do not feel this album is "pretentious" in a bad way. I feel like Hunter Hunt-Hendrix was not trying to impress people at all. Rather; I feel like his intentions were somewhat to piss off the black metal community. I can report 8 years later that he succeeded, and then some.

Of course I gloss over the actual music present, which is somehow some of the most experimental music that black metal has ever seen. It seems to incorporate a lot of things that I feel fit very well with black metal. Chanting vocals, polyrhythmic riffs, and epic soundscapes. All is present in this album and fits with black metal very well. I am honestly very surprised more black metal bands do not make music like this. Sonically, this combination is very immersive and draws the listener in for the long haul. Some sections go on too long for their own good, but each movement feels unique and inspiring. The vocals are very fitting too, and I really enjoy the use of clean vocals every now and then to freshen things up. There is a surprising amount of variety in this album despite all the repetition. It just takes an open mind to fully grasp I think. That and quite a few listens!

Track by track there are a few standouts to me. First would have to be "Returner". It really shows Liturgy's knack for great songwriting in my opinion. Relying on repetitive, yet effective movements for the entire song. The next track: "Generation" showcases their great ability of building on a single riff. The more I listen to it, the more I start to notice something different going on; which makes it fun to re-listen. There is also songs with pretty epic soundscapes like "True Will" and "Tragic Laurel", that make use of many layers of instrumentals. The only other track that really stands out in such a great way to me is "Harmonia". This is possibly one of my favorite closers to an album ever. Possibly the best song on the album aswell. It feels like the entire album condensed into it and "Glass Earth". The polyphonic chants that build upon themselves, leading into a track that relishes in its repetitive glory. There isn't really any weak tracks on this album either. The only track I really feel doesn't stand out much is Helix Skull, but its length just isn't long enough for me to consider it a major annoyance, therefore it is fine. It more so is just build up for Glory Bronze anyhow. I find it interesting how many tracks do stand out in this album and really enjoy how most of their creative elements took a few songs to fully showcase. It is just another thing going for Liturgy's subjective excellence.

Aesthethica is extremely polarizing. I feel it is this way due to the dichotomy of peoples opinions about this album. You either consider this a milestone in black metal or the worst thing on planet earth. A lot of it has to do with the fact that this album is a lot more progressive than traditional. So of course with the current state of the world, most people will feel one way about it or the other. I find it kind of odd that people will near-objectively claim that this album is basic and unmemorable when it is quite the opposite. Some people might still dislike this album regardless of the hatred for progressivism though and I fully understand. I find it very fascinating how opinions on this album are so divisive. Of course me personally; I consider this a huge achievement in black metal. A genre that I have had a difficult time fully appreciating due to it's horrid community and values. I see this album as a big "fuck you" to those people. The fact that these fans of black metal are so upset over this album makes me happy. Knowing that, it kind of creates a whole new level of enjoyment for this album.

I have gone through a bit of a metamorphosis in appreciating Liturgy. I went from disregarding them as musicians, to enjoying how they piss off people I cannot stand, to truly enjoying their glory in the years I have known of them. Many of the standout tracks, Harmonia especially, I credit for this change of perspective. As a band; they are more than worthy of their "transcendental black metal" moniker. Asthethica transcends black metal in a way that should've been done long ago. Sadly, I highly doubt that a band not named Liturgy will make another album like this. This sadness is short lived however. Upon the realization that it makes this album stand out a lot more. Aesthethica will forever stand alone on its own pedistal, and I am very happy for it. This band taught me that pretentious doesn't inherintly yield a lack of quality. Good art often teaches you a valuable lesson. To this I must say: thank you Liturgy.

(P.S. Glass Earth leading into Harmonia has to be one of the best things that black metal has given us. I will stand on this grave until I die.)

The Contortionist - Language (2014)

Pretentious is a word I often use to describe things in a negative light. Perhaps everyone uses the term in such a way. Though I must not deny that my thoughts on this album are fairly pretentious. I have long since refused to talk about this album; as I never felt that my words would fully describe what this album means to me. Why it is my favorite album. What it means to me. It might be the only 5 that will always be there. One I never in my 6 years of knowing the album have thought about lowering the rating. It is a testament to how wonderful I feel this album is. Though to accurately depict my love for this album, I must explain my history.

Like a lot of people at some point in their life, I was once innocent, and hid away my troubles because it is a common thing to do. The more troubles I hid, the more insecure I grew. The more insecure I grew, the more I started to see my life falling around me. Paranoia and anxiety grew, and I felt that I would be the next Humpty Dumpty. Self-loathing and cynicism grew. I grew insecure of that, and grew to hate it. The seed that made me discover what hate truly was. Insecurity in its most aggressive form. You hate the very things you wish were punished because you are punished yourself for a similar reason. Lacking the understanding of context and situational differences. I never fully understood these things because I almost refused to. I truly felt I would not leave the situation I was in. I was a preacher who did not follow my own teachings. Speaking out about hypocrisy but not seeing my own. Always aware but never accepting it. I rather would hide my own problems by going after others'. Though in 2014, I believe things started to change.

High School was pretty rough for me, but looking back even through all the depression and hardship, I feel like it was the best time in my life in a way. It helped me become who I am today. I met someone who changed my life. His name was Lance. He introduced me to metal, and many artists that made me become the passionate music lover I am today. He showed me Rings of Saturn, an artist that I obsessed over to ridiculous levels. Through them I discovered two albums. One of them is this album. My YouTube recommendations recommended me this album. My first listen I don't remember fully. I just remember being amazed by the beauty of everything I heard. It made me reflect on better times. I listened to it a lot because genuinely the instrumentation was the best thing I had ever heard at that point. Normally music kinda fell out of favor with me after a while, but this just stuck. Stick it did. I began to notice the smallest of details in the album and were amazed by them. The manic screams in “Language II: Conspire” that are almost unnoticeable at first, the lovely beginning to “Integration”; one of my favorite songs ever, the beautiful bass solo in “Thrive”, the outro to “Primordial Sound”, the outro to “Arise”, the outro to "Ebb and Flow”, and the reflection “The Parable” brings. That Alan Watts quote sticks with me, it feels like a reflection on the entire album. The more I think about this album, the better I feel about myself. The lyrics made this for me. I feel like it told me how to change and I never noticed. I feel at this moment now that I finally understand its message. It is symbolic of the human cognitive process. How we grow as people, despite the monotony of everything going on around us. Like tides pushing and pulling; ebb and flow. Everything is so simplified lyric-wise that it almost sounds cryptic, and that allows you to interpret it your way. Something I grew to love in music without noticing. This had far more impact on me as a person than I ever realized. I never could describe it because I never understood how transformative it was of me. Until now.

Language is important, both in reality and speaking about this album. This album feels meticulously thought out and executed at the highest of level. The instrumentals all compliment the wonderful and welcoming voice of Michael Lessard. It gets aggressive when it needs to be, and always at the perfect times. The lyricism is perfect, and sees Michael at his full potential. It is uplifting to think that the man who wore "The Contortionist" merch in a music video shoot 3 years prior to this album would become the vocalist of this band. It uplifts you. Michael Lessard is not only inspiring inside the music world, but outside too. A wonderful individual who is a living example that you can change, and make things better for yourself. I remember a couple years back reading a story of how Language inspired a 9 year old kid to stand up against bullying, it put me to tears seeing how impactful music can be to people. This album just feels like a reflection on Michael Lessard as a whole. It also feels like a part of me. I am so proud of who I am. Happy that I finally reached this peak, and ready to tackle the next with a smile for once. Trying to get back into shape, just like Michael has done. I hope people reading this can find an album that means to them what this album means to me. Or something else in their main interest. Art is powerful. It transforms and inspires generations to do things that they never thought they could ever do. I am happy I was able to understand its impact on the world. Through all the years of people thinking art was dying, it has survived. I feel blessed to have the thing that made me happy as a child continue to transform me today. Language is what made me discover this power once again. It is the most vital musical work to me. It will always be. I finally fully realize why I love this album. It is so empowering.

JPEGMAFIA - Veteran (2018)

“Goodnight alt-right”

First impressions are important but might not always be the best judgment. It is a common theme for me at this point to have a bad first impression and misunderstand an album. So much so that I refuse to ever listen to it again. This marks a change. For once I have gave something I did not like a second chance. Going as far as to discover exactly what this albums intentions are. Once I figured it out, this album I fell in love with. This is easily my favorite album this year.

I rarely consider albums to be masterpieces. As most albums have some flaws or shortcomings. This is an example of an album that I have a difficult time finding flaws in. It feels like a 6 star wrestling match. Whatever flaws exist, they are almost unnoticeable. Everything about this album is master class. The choice of style just goes perfectly with the message. Unwelcoming, eerie, and rarely lets up. I enjoy the recurring themes in this album. The “You think you know me.” and “Damn Peggy” samples. They are not obtrusive, and tie the album together pretty well. I like how the former sample plays along with the fact that people act like they know others, and hate on what they don’t understand. Completely ironic that I hated JPEG at first because I did not understand his intentions. Peggy really hates anyone that is not far left, and I love it. This is an album that hip-hop needed. A straight “fuck you” to the conservatives that have had people quiet for around 30 years now. I used to not like this politicized hip-hop, but after seeing DMCs video on the state of hip-hop; I started to understand the significance of rap being political. It helped to inspire change. Art is very important in influencing change. Even memes, something created for laughs has changed peoples ideas on politics. Getting way off topic though, lemme get back to the music.

There are so many great songs on this album that it would be a long ramble trying to give credit to all of them. The opener is absolutely perfect. It is wonderfully subtle, which helps to ease you into the more dark and sinister parts of the album. In fact, up until the pseudo-title track in “DD Form 214″, the entire album is slowly easing into this eerie atmosphere. It sometimes lets up, and at the perfect times too. The ones that do let up often have more interesting messages. You have “Libtard Anthem” which seems to be satirically attacking the left. Seemingly from a perspective of the right. It also does not feature any of Peggy’s vocals. Theres also “I Cannot Fucking Wait Until Morrissey Dies” which is hilarious and attacks a lot of different awful white musicians. Theres just so much bold statements in this album, and they all are respectable too. Delivered so well, and backed up by possibly the perfect beats for what it is going for. Theres a fair amount of variety on this album, which is expected of something so experimental. Though it is also very cohesive and all in the same general aesthetic. There is not a single track on this album that feels out of place or even weak for me. It’s pretty insane. Ultimately Veteran is a work of art. Might be hit or miss, but if it hits, it hits really hard and right in your face.

This album helped to change my whole philosophy on hip-hop. I start to see the significance of politics in music, as music is often very inspirational. It made me understand my first experience of this album was poor, and it was my fault it was so poor. I misinterpreted Barrington’s points. Upon realization, I felt like I needed to listen to this again. I am so happy I did, as I have fell in love with this album and what it stands for. The cheesy wrestling references, the jabs at the alt-right, and everything about this albums instrumentals make this album so great. It feels like a multiple course meal. So much to digest, and all of it is of invaluable quality. Because of it’s significance, and the fact that it changed my mindset, and my mind on music as a whole. It deserves a 10. My favorite album of this year.

t e l e p a t h テレパシー能力者 - 現実を超えて (2014)

Otherworldly: “Devoted to the world of the mind; concerned with intellectual or imaginative things.”

Vaporwave is a strange art form, the most major genre that was fabricated entirely from the Internet and the mysterious people that inhabit this universal haven of knowledge and society. The existence of vaporwave is fascinating. In a world where it is borderline-impossible to be completely anonymous thanks to the apparent, unlimited data on us; people managed to create an art form based solely on anonymity. Hiding their personal information while they re-contextualize copyrighted music. An idea that has fascinated me since I heard this album. For a while vaporwave was what you made of it. You could see it as drawing your own moods and thoughts and projecting them onto the music, or you could follow what the artist intended through their often cryptic messages tucked away in the foreign song names. I chose the former, but there was not only one way to enjoy vaporwave.

Telepath was my first experience with this brand of vaporwave. I remember specifically a time I listened to this album drifting in and out of sleep. I felt like my mind woke me up to hear the parts of the album that it wanted me to hear. Music like this provokes lots of ramblings from me as theres a lot of reasons I enjoy it. I will try to be concise.

I think the thing that makes me so interested in this is the production. I love the way its executed, and it plays a big factor into the songs having a totally different atmosphere and tone compared to the originals. Telepath is a master of this, proved by the countless amounts of very interesting releases he has put out. It is all about immersing yourself in his music. Following his narratives, or creating your own. This music isn’t really for everyone though, as most people who do not enjoy nostalgia might find this a bit too strange. Vaporwave manages to create nostalgia to things that are unfamiliar to you. Or at least invokes feelings akin to what nostalgia brings. Finding a vaporwave album that means something to you is like finding a new interest for the first time, and being eager to try it out. Just fascinating yourself with the experience of it. This is the reason I loved vaporwave, and began to dislike it once it turned away from this feeling. That is another topic for another day though. Very subjective too.

This might be his best album due to the fact it serves as a great starting point for his discography, and familiarity makes this stand out a lot more than his others as a result. Though I must say many of his other albums are just as fascinating as this one is, a true testament to the “If it ain’t broke, don’t fix it” ideology. Unlike other vaporwave artists at the time, Telepath maintained consistency. This consistency made for some of the most otherworldly experiences I have ever had with music. It really got my mind going like the first game I ever played got my mind racing as a child. We as adults long for nostalgia much of the times because we desperately with to be children again. To have our innocence and true freedom back. Vaporwave was just one of those things for me that made me feel like a child again. This album was a huge reason I followed the genre for so long. It holds significant value on that merit, aswell as it being a truly fascinating album. Vaporwave is indeed a strange art form, but I loved all it had to offer. Vaporwave is extremely interesting.

(You might notice I am vague and do not go into depth. The reason is so many people can go into this album with an open mind if they wish to do so)

Dir en grey - Dum Spiro Spero (2011)

“While I breathe, I hope”

Dum Spiro Spero is Dir en grey’s seventh studio album, and the journey to this album was insane. Diru went from a very solid Visual Kei band, who relied on their shock imagery and obscure appearance to garner attention. Very similar to early extreme metal bands using Satanism to provoke controversy. Over the 11 years from Gauze to Dum Spiro Spero we watched as Dir en grey slowly transitioned to their music itself expressing their intentions. This album is the peak of that. This could have been their final album and it would have told a very interesting and unique story for this band. Dir en grey is like the wrestler Hayabusa; innovative and one of a kind. You will never see anything like them again. Dum Spiro Spero to me is their magnum opus in an already insane discography. Their defining release.

The intro is the perfect intro. One that gets you adjusted to the type of atmosphere and style you will hear from this album. A very dark, avant-garde sounding release that is perfectly depicted on the album cover. The intro leads into “The Blossoming Beelzebub” a song about isolation and wanting to change. One of the more repeatable songs on this album that explains the desire to change, but the lethargy that makes change so difficult. The song itself is structured very well, having good breaks from the main verses including a very eerie section that ties into an energetic manic scream that releases a lot of built up tension. I like how Kyo is often the tension-breaker rather than the guitars, meaning that core-esque breakdowns are sparse and there is not very many of them. The reason I really enjoy listening to this song is the outro. The little drum and bass at the end engages you for the most iconic song on this album.

“Different Sense” deserves its own paragraph. A notable song with a chorus that has been in my head since the moment I listened to it 5 years ago. The whole progression into the main section of the song gets you pumped up for it. Kyos inhaling lows are chilling. This song displays how versatile Kyo is. Lots of different variants of harsh vocals along with his vocal range. Not only that, but it shows off both guitar players, Kaoru and Die. “Different Sense” is really energetic, and has breaks which give the user time to breathe or immerse themselves in the softer parts of the album. It has lots of musical layers to focus on. You wouldn’t think a song this dense with ideas would be this engaging, but it is. I feel the reasoning this is their breakout song is because it is very enjoyable outside of the album, which I feel was the reason they released this song as a single. It pieces together the whole album to me.

This album starts to go further into its atmospheric sound with tracks like “Amon” and “Dreambox” before diving back into the more fierce sound with “Juuyoku”. “Juuyoku” is my favorite song on this album by far, the riff is just so good. More of a simple song compared to “Different Sense”, but its just so crazy. Almost the entire song is Kyo’s harsh vocals. After this the album returns back to its main course. It even starts to get a little softer with “Lotus”, which was another single for this song. “Lotus” is a very good breather track, which gives the listener a 4 minute break from everything. The best placement for one, as “Diabolos” is up next. “Diabolos” is a very long, well thought out track that I will not spoil as it’s very much something that deserves to be experienced without explanation. “Atatsuki” gets you a little back into the chaotic realm, preparing you for “Decayed Crow”. The last single is next, a very long track name, but kind of the middle ground to me between “Different Sense” and “Lotus”. They got the singles perfect for this album I feel. The last two songs just feel like the perfect closers for this album, more heartwarming sounding tracks to supplement the whole “finding beauty in darkness” vibe the band was trying to replicate in this album.

All in all I have listened to this album about a dozen times. It might sound like a low number, but understanding that I like this bands entire discography; you would be very surprised. Dir en grey writes negative songs and remains so versatile and interesting. They have reinvented themselves about as many times as Chris Jericho has, and just like Jericho; they have remained consistent and everything they do is gold. I stand by my statement that this band is one of a kind. They are the reason I grew an interest in Japanese music. The reason I consider Japan to be my favorite musical country. So much uniqueness comes from musicians there. I say that this album defines Dir en grey, but it almost feels unfair to say that. All their albums seem to stand out very well. They have never made the same album twice, and somehow, have never really failed to capture my attention. That is resilience, and truly that defines Dir en grey. Versatile and resilient.

The Faceless - Akeldama (2006)

“2006; 2006 is my year Bobby.”

2006 was one of the last years for what I deem the golden age of deathcore. This album was kind of the final bang for it. Further proof of its eventual commercialization and decline is the fact that The Faceless progressively moved away from deathcore with each album. Funny thing is this is their strongest effort by far. It’s in a whole other ballpark compared to everything else they've done. World Series winning music. The perfect balance between cohesive music and random, spastic guitar playing. 

This album does so many things right and few things wrong. Most of the wrongs are so nitpick-y to where I have no reason to list them out. This album does noodling to perfection. It never feels out of place when they start sweeping or randomly changing song sections. Theres lots of inspiration for this album, and this is the only Faceless album where I feel they knew what they were wanting to do with every hint of inspiration they had. Every other album they have put out feels like a mess of ideas. Usually one or two good ones and an overwhelming amount of bad ones. There is a lot of really good riffs and sections on this album, and listing them out would be too exhausting for me. I could not really even pinpoint a song that specifically stands out. Every song holds up very well. This album ages like fine wine for me. Possibly due to how personally stagnant and bland most deathcore after this album is. Most of their albums afterwards seem to have the opposite effect on me; growing off of me. It is strange. 

This is a great example to others that sometimes amazing music is full of inspiration. It doesn't always have to be something completely original or unique. Sometimes you have to stop believing that pioneers are the absolute pinnacle of their genre. Abandon nostalgia. Modern metal has very much stood up on its own, right next to the “big boys”. Sometimes music enthusiasts have to tread through a bunch of trash to find something of note. We should all be like Cleveland Cavaliers fans. Put up with decades of losing seasons just to experience winning against a team that blew a 3-1 lead. That’s the exact feeling I feel when I find an amazing album like this after spending many months going through a genre I find hit or miss to find something like this. Absolute wonder. 

Deathcore definitely didn’t die after 2006, many things are hidden from view out there waiting for you to find it. A bang created the universe, essentially dawning a new era in the deathcore genre. You got to have fun with music, and sometimes take it seriously. After all; winning the World Series takes a lot of work. A lot of time and balance. 

八十八ヶ所巡礼 - 八＋八 (2010)

I firmly believe Japan creates some of the best music when it comes to it dabbling in western genres. This belief is not questioned at all with  八十八ヶ所巡礼 (88kasyo junrei) and their album “ 八＋八” (88). 88kasyo junrei gives you a bang for your buck with this hour long journey; showing very few signs of slowing down, but in the best way imaginable. An album where the cover says everything you need to know about this album. The stuff of legends. 

This album really doesn't slow down in quality, which is extremely surprising considering the hour long length. This type of music usually gets tiresome at around 24 minutes, but they include so much goodness in the extra 36 that it just warrants a complete listen from me. The funky bass, the booming guitars, and the amazing vocals of Margaret Hiroi. This band is crazy, as is the album cover. Really just sounds like an entertaining musical ride. There is truly nothing I can compare this type of music too. It really stands on its own, which means it is definitely worth a listen to anyone who may be interested. Just kinda proves my point earlier that Japanese music just does western genres so much justice. They truly make it their own; from the weirdness, to the lovable charm that it always has.  

Right away this album starts off very strong. The first track starts off with a great drumline, and the vocals help to lead into the opening riff, and I immediately knew I was going to love this album. It is pretty easy to tell they love variation. Most of the first song seems to go seamlessly from riff to riff as they build on them. Sometimes using effects and syncopation to achieve different, unique effects. Almost gets noodly sometimes, but just in the best way. When the second song kicks in, I really started to love this album. Big scream and a silly guitar lead into a funky ass bassline. The riff that results from this has to be one of the best riffs I have heard. The post-hardcore elements really start to show here; kind of reminding me of The Fall of Troy in some sections. It’s just super fun hearing all the variations on riffs, but later in the track they just stop and do a really sick break. The break has to be one of the best parts of this song, just a really sick guitar tone and an odd, but easy to follow time signature. The rest of the songs following it just seem to keep up this insanely great sound. It is only until “親孝行” we see a true slowdown. Kind of a perfect time to slow down as you've sit through some really hectic stuff for about 24 minutes already. After it; the tracks seem to lead back into the sound from earlier. “愛ハ三文字” is another highlight for me. The riff that booms out of the intro is something that I wish I could hear more off. Starts out as a normal riff but then it starts to have a wah-wah effect that just sticks in my head. So many riffs that are catchy in this album. I realize I am just fangirling a lot over different sections of the music, I am sorry haha. 

So all in all, you get some insane value out of the hour long experience this album brings. Crazy riffs, loud vocals, and groovy basslines. I find it to slow down in the perfect spots, without really feeling like a forced slowdown. This is easily one of the best things I have listened to recently, and I find myself coming back to this in some capacity almost weekly. Just another amazing Japanese gem. 

JPEGMAFIA - Veteran (2018)

Today we enter a sea of subjectivity and politics as we dive into the release “Veteran” by New York rapper Barrington Hendricks; known by his stagename “JPEGMAFIA”. Veteran is a very politically incorrect album; and presents itself in a repetitive, sarcastic manner. In my opinion, this is its downfall. 

( I would like to state before we proceed further that these are my subjective opinions; if you disagree I am not intending to insult your opinions.)

We start out with some very solid tracks in “ 1539 N. Calvert”, “Real Nega”, and “Thug Tears”. The instrumentals here are very top notch with a very interesting production job. A sample of the entrance music of WWE superstar “Edge” is heard in many songs; symbolism of the personality that JPEG is trying to display throughout this album. The harsh sarcasm is present in the lyrics at the very beginning as is the professional wrestling references. JPEG takes an almost savage approach to these issues; referencing 4chan terms and other things of similar origin. JPEG has stated that he is very fascinated by 4chan culture, even if he is not an active member of the site personally. The tracks all stay pretty consistent instrumentally as the tracks continue on, though I found myself personally growing tired of the music after I got past “Libtard Anthem”. Libtard Anthem pokes fun at liberals and domestic violence lowkey referencing the XXXTENTACION domestic violence case. I began to research information about him afterwards and started to grow repulsed by his personality. It reminded me of many personalities that have sprung up through the years and have left a trail of anger and rage in their wake. 

This is when the meat of my subjective opinions started to set in. I concluded that JPEGMAFIA is one of these rappers you have to be interested in personally to appreciate, or just a person who is completely unaffected by his lyricism. I am not one of those people. I find harsh sarcasm to be a huge problem in the world today. It seems to promote these people who continuously attack people who they feel are lower than them; then take no responsibility for it when others see their content and start to target their victims. Granted JPEGMAFIA hits above the belt; attacking people who are of higher stature than him. I still do not agree with this style though. JPEG seemingly feeds off this, and is very interested in the varying opinions of his work. It is a strange dichotomy that I feel many people will find interest in. I am not one of those people. I don’t like the message or vibe this album brings. It just comes off as underhanded and immature to me. I can totally understand people having some interest in JPEG or Peggy, but I just can’t find anything of worth out of it. If you might be interested in him, or only care about instrumentals, I would definitely say to give it a shot though, it is a very unique album for sure. Not for me though.