|UserReviews 1Approval 100%Soundoffs 18Album Ratings 519Objectivity 72%Last Active 12-22-11 8:53 amJoined 09-26-10Forum Posts 2Review Comments 45
|2011: The Year Of The Cheeseburger|
So 2011 has been the first year where I've really taken an interest in following new releases rrand working on this list basically all year. This time last year I would have had a hard time rrnaming ten, let alone forty. I just wrote a review to generally positive feedback, so I figured rI'd give myself some practice by writing pretty lengthy descriptions for the top 25 or so. But ryeah, this has been an incredible year.
|39|| ||Girls' Generation|
Girls' Generation (JP Release)
Maybe this doesn't count, but this deserves to be here because of how
completely my life was consumed by "Gee" for a good month.
This is only as low as it is because I just found it a few days ago. Will
probably grow on me a lot in the coming weeks.
Fables of the Sleepless Empire
Coin Coin Chapter One - Gens de couleur libres
|32||Fair To Midland|
Arrows and Anchors
|31||Beheading of a King|
Quasar: Preserving Legacy
|30||Last Chance To Reason|
Anyone know when the full game is coming out? The demo was pretty
|29||Panic! At The Disco|
Vices & Virtues
This was such a relief. Pretty.Odd. was such a huge disappointment. Good
to hear that they can still make a solid pop album.
"Agony" grew off me as fast as it grew on me. The silly clean vocals really hold
back the overall effect, but it's still a very fresh approach to the genre.
|25||Between The Buried and Me|
The Parallax: Hypersleep Dialogues
This is the first release from this band that I've been able to appreciate.
They're obviously extremely talented, but there's something about the
production that's holding be back a little still. It all sounds so thin for some
reason.. Still a great listen though. Maybe their next full length will finally
make me a believer.
Aosoth's "III" is one of the first things I heard this year, and it's stuck with me
ever since. This is very machine-like and absolutely refuses to vary it's sound.
It's a daunting and hypnotizing listen, but it's commitment to the style is
admirable. The effect is mezmerizing.
|23||Laura Stevenson and the Cans|
Alright so this grew on me a ton. I still think it's a bit overrated, but I can see
why so many people like it as much as they do. "Master of Art" is one of the
best songs of this year.
New History Warfare, Vol 2: Judges
Sometimes I still find it hard to believe that nearly every sound on this album
is made with a single saxaphone. This album is fascinating in its
inventiveness, and the fact that every sound is as alien as it is makes it
completely unpredictable and a ball to listen to.
Parting The Sea Between Brightness and Me
Part of me really wishes I could put this higher. The energy and conviction
with which it conveys it's completely melodramatic themes are so endearing
that it's easy to forget how melodramatic they really are. Still, at some point,
what the music is saying is more important than the words, and this album
has a LOT to say.
w h o k i l l
There comes a point when silly, whimsical, fun music is so silly, whimsical and
fun that it becomes a genuine piece of art. Rather like Regina Spektor, tUnE-
yArDs so thoroughly embraces her goofiness that embracing it yourself with
just as much furvor is irresistable.
Who would have thought that what deathcore was missing all along was
atmosphere and theatrics? Plus an emphasis on the "death" part and fresh,
impressive musicianship. I mean, just listen to "Reshaping the Mulverse."
|18||The Devin Townsend Project|
I've become something of a Devin Townsend fanboy this year. The fact that
"Ghost" actually ends up as my least favorite album in the four-part Devin
Townsend Project project and yet is still in my top 20 albums of the year is
telling. Ghost is proof that Devy really can do anything well. I think the only
thing we haven't seen him do is hip-hop. Hopefully we'll see it in 2012. It'll
probably be my AOTY.
|17|| ||Original Broadway Cast|
The Book Of Mormon
I can't get over how much I adore this musical. I have a different Book of
Mormon song stuck in my head every day. Never fails. Anyone know where
this is on the database? I have it entered as it is in my library right now.
Opeth was probably the first real metal band I ever listened to, so to hear
them strip away their metal roots almost completely was initially alarming.
And it's not like "Damnation," where they deliberately made a "soft" album
just to, I don't know, prove that they could - it's clear that this is the direction
the band is heading. The more I listened though, the more I embraced the
change. "Heritage" is ultimately a step in a very mature direction. Sure,
maybe a lot of this is self indulgent experimentation, but can you think of a
band you'd rather sit and listen to experiment, even if none of it has a
coherent connecting thread? At the end of the day, it's still better than most
progressive rock around today.
I have a love-hate relationship with "Wildlife." La Dispute's debut LP is, in my
view, a masterpiece. This is a step down. It took me a while to look at this
album objectively, forgetting how much better their first offering was. Once I
did, though, I realized that songs like "A Departure" and "King Park" are as
good as anything on "Somewhere At The Bottom..." and, like Opeth, this is a
turn in a more mature direction (though I would argue that the immaturity of
their debut was actually part of the appeal). Both "Wildlife" and "Heritage" are
likely stepping stones to much better things. Once again, it's never boring
listening to excellent bands experiment and mold their sounds to a new
"Mirrored" was just fucking boring. It wasn't so much music as it was a bunch
of talented musicians showing off. It was missing flavor. "Gloss Drop" has as
much flavor as the album cover would suggest. It's math rock with a whimsy
that brings life to a genre that is often very stale. I came back to "Inchworm"
and "Wall Street" constantly throughout the year, not because they're
technically bewildering (which they are after repeated listens), but because
they're simply FUN to listen to. "Gloss Drop" shows a group of talented
musicians actually using their talent and technicality to make enjoyable music.
Roads to Judah
There's not much to say here. It's just awesome. "Roads to Judah" is a
perfect meshing of hard and soft that a lot of black metal acts have
attempted. These guys are the first that I've heard pull it off.
A Dramatic Turn of Events
This was my first introduction to Dream Theater, and I still have yet to listen to
Metropolis Part 2 or any of their other albums. I've listened to parts and hear
nothing but the same silly showboating that irritated me from Battles' debut. A
Dramatic Turn Of Events is simply fun, accessible progressive metal, loaded with a
fair share of cheese ("Some of us choose to live gracefully!!" "Then the darkness
turned to pain/and never went away"), just the way I like it. Back-to-back 11
minute tracks can be tedious, but everything on A Dramatic Turn of Events has a
light, airy feel to it. These tracks aren't contrived attempts at being "epic."
Instead, they are dynamic rides of catchy riffs and choruses, plus insane solos.
|11||Circle Takes the Square|
Rites of Initiation
This is still here as a sort of placeholder for Decompositions, Volume I, but I
have a feeling we're not going to be hearing that this year. But this EP is it's
own beast, and is a fantastic return for CTTS. My favorite thing about it is the
fact that Kathy is featured so much more than before. This is good, because
her voice is more mature and impassioned than I've ever heard it. I get chills
every time I hear "And the feedback feeds on echos!" in "Spirit Narrative" a
song which she completely dominates. In fact, in my eyes, she dominates
pretty much this entire release. I find myself waiting in anticipation for her
parts to come in and pretty much ignoring the other dude. It's a shame,
though, that this feels so incomplete. The mere fact that I know it's simply part
of a whole makes it seem like just that.
|10||Animals as Leaders|
Before this album, every album released by a "djent" band has been a way to kill
time between Meshuggah albums. They usually resemble the aforementioned
legends so closely that I find it difficult to see any unique identity in them.
Animals as Leaders set themselves apart with their first LP, but I still found that
it lacked something. It was a little TOO mechanical, and songs like "Thoroughly
at Home" still sounded very similar to something you'd hear on "Chaosphere."
"Weightless" finally shows a "djent" band with it's own personality, though. It
takes a genre that clings so desperately to this mechanical sound and gives it a
little bit of humanity. Filled with catchy grooves that demand your head to bob
and much cleaner production than anything you'll hear in the genre, we may be
witnessing the rise of an actual competitor for Meshuggah, rather than aspiring
Hurry Up, We're Dreaming
I feel like I'm not really qualified to talk about M83 or Swarms. Electronic
music is very new to me and I still find it difficult to write about. However,
what I do know for sure is that I love these albums. What I know is that
whenever I hear "Intro", I am instantly swept away from reality and am totally
consumed by the sounds. I know that "OK Pal" and "Reunion" sound like
perfect background music for a montage of big city night life. I know that
"Raconte-Moi Histoire" is one of my favorite songs of the year because of its
shameless childlike whimsy (I really really love that kid). Basically, even
though I can't even say with confidence what genre you'd put M83 into, I
know that I love everything I hear on "Hurry Up, We're Dreaming." I think
Old Raves End
Whenever someone says that dubstep is garbage, I link them to "Flickr of
ur Eyes." When I discovered Burial last year, my eyes were opened to
what the genre could really do, and that it's not always just background
club music. Swarms took me a step further, and showed me that it can also
be an emotional experience. Like M83, there's not a lot to say beyond just
how much I love it. This is gorgeous stuff.
A I A
"Dragging a Dead Deer Up A Hill" nailed its foreboding, uneasy feel. "A I A"
nails something different - the feeling of failure. There's really nothing here
to give you a break from the desolate, mournful nature of the hazy drones
and croons. "Comes Softly" is clearly its peak. A very simple keyboard
melody and Liz Harris's very vulnerable voice are the only sounds here. Its
simplicity alone is heartbreaking, as is the repetition and complete lack of
progression. When it ends, it just ends. The sounds just stop. It's a
haunting moment, a perfect representation of failure and giving up. "A I A"
tries to find more varied melodies and more positive sounds in songs like
"Mary, On The Wall" and "Alien Observer", but never really succeeds. In a
strange way, it's the monotony that makes this special. Harris is completely
unrelenting with this dreary atmosphere, and it never fails to completely
envelope me whenever I hear it.
A year or two ago, I heard a band on a special segment on Current TV. I had
never really cared for folk before, and my dad has been a folk fanatic since he
was a teenager in the 60s, so I've heard plenty. What I heard blew me away,
and I ran downstairs to tell my dad to change the channel immediately, thinking
that for once we could find some common ground in our music tastes. He was
already there. The song was "White Winter Hymnal" by Fleet Foxes, and sadly
it was the only song on their self-titled debut that I cared for. This album was
more of a mix tape of ideas than an actual album, but that song showed so
much potential that when Helplessness Blues came out I listened as soon as I
could get my hands on it. They've certainly reached the promise they showed
in earlier releases - Helplessness Blues is filled with mind blowing harmony and
personality. So much of it feels like a celebration of life itself, and the music is
DRIPPING with a clear passion for it. I finally see what my dad sees in his old
folk records. Fleet Foxes present the tone and attitude of oldschool folk music
in a language I can understand. That is an incredible feat.
"Deathconsciousness" is one of my favorite albums of all time. "Giles Corey" is
like if "Deathconsciousness" was remade as a folk album and recorded in a
haunted house. This varied album does a lot of things well, but most effecting
to me how much much it reminds me of my home town. "Giles" is the epitome
of there being more than meets the eye, just like this city in the middle of the
Southern California desert with little to no noticable landmarks. Just this year,
though, I found out that the Antelope Valley, where I've grown up and lived
since I was born, is home to dozens of ancient Native American camp sites
and burial grounds. I visited one, hidden away in the mountains further than
I've ever traveled here before, during my Intro to Archaeology class. Wanting
to revisit and explore for myself, I googled for directions. I stumbled upon a
website for a group of ghost hunters that specialize in exploring those same
Native American sites, including the one I had intended on visiting. I read
stories of people taking EVP recordings in nearby caves and claiming to have
heard voices. As I drove there, I listened to this album. I'm usually highly
skeptical about the paranormal, but driving up the dirt mounts looking at
those very caves while listening to "Empty Churches" was pretty unsettling.
|4||Crash of Rhinos|
I remember listening to American Football on the recommendation of a friend a
while back and thinking "this is so great. If only it had more energy though!"
Crash of Rhinos was exactly what I had hoped American Football sounded like.
It's impossible to listen to this album without hearing the fun that the band
had recording it. Besides being fun and energetic though, it's also beautiful. I
don?t often know what the vocals here are saying, but I don?t think it matters.
What matters is the emotion and passion in them, and in the music. There?s a
vibe on this thing that?s really exciting. Though the delivery is messy, you get
the feeling that there isn?t a single sound on here that?s out of place. In the
end, I?m left wanting more, which is probably why I listened to this so often
2011 has been a pretty slow year for screamo. It's hard to find a band that's
really pushing the limits of the genre and straying from the trendy formula of
post-rock build after post-rock build, or in the case of bands like Ampere,
relentless and incomprehensible chaos. Beau Navire is the one band that
broke the mold for me, though. "Hours" is an intense package, filled with
controlled chaos broken up by melodic and dreamy interludes. The
contradiction presented by "The Looking Glass" during one such interlude, in
which the vocalist shrieks over reverb-drenched guitar drones, defines the
strength of the album. This collision of abrasiveness and contemplative melody
is present throughout the album, and creates an unpredictable and incredibly
tense atmosphere. This is by far the emo album of the year, and doesn't have
a single cheap, drawn out accelerando or crescendo.
David Comes to Life
"David and Decon" I call them, because these are the two albums that, as soon as I
understood them, were my best two albums of the year and never moved once.
"David Comes To Life" is a rebellion from rebellion. It's a giant "fuck you" to the
attitude presented in the lyrical themes of hardcore music. Pink Eyes screams and
bellows with the best of them, but the music is hopeful and celebratory. I
remember listening to the album for the second time, returning after a first listen
that didn't connect with me at ALL. When I got to "Turn The Season" the second
time, I was absolutely blown away. That song is such a beautiful look at life and
death, and features the best lyrics from any song this year ("See the old in the
new/see the life stretch before you/See a mother in the child/there was youth
behind gray eyes"). In fact, every song on here is a minor masterpiece. The only
negative you can possibly say here is that "A Slanted Tone" isn't as flawless as
"Turn The Season" and that "Ship of Fools" isn't quite as blood pumping as "Serve
Me Right." This is a complete triumph of modern heavy music, with as much heart
as it has grit. Most importantly, it's fun as hell.
|1||The Devin Townsend Project|
I think the misconception here is that "Deconstruction" is nothing but a big fart
joke. I think people are missing the point of Decon altogether. In fact, songs like
"Sumeria" and "Poltergeist" don't contain a single fart joke and are simply
beautifully crafted progressive metal songs. More importantly, though, in a year
so full of exuberance in music, Deconstruction takes the cake. It is a celebration
of the wonder, the joy and indeed the humor of life. It's Devin reaching the top of
Maslow's Hierarchy and singing about it triumphantly from the top of the pyramid.
I think it's very likely that "Deconstruction" is the last true metal album Devy will
ever make, and it certainly is a beautiful sendoff. "Oh, we're not done yet are
we?" He asks at the end of the title track, followed by a heart pounding,
exhilarating, stampeding finish that is probably the climax and finale of his career
in metal. Decon is a rewriting of what metal can and should do. And yes, this
album probably is the most self-indulgent thing you'll hear this year. I wouldn't
have it any other way. This is Devin doing exactly what he wants, unleashing
everything he has in a glorious assault of technicality and insanity. This is not
only the most perfectly crafted metal album of the year, it's the undisputed album
of the year in my eyes.
|No idea why M83 and Girls' Generation aren't showing up... Oh well.|
|its rokay. |
|demon of surveillance|
|"And it's not like "Deliverence," where they deliberately made a "soft" album just to"|
I believe you mean Damnation here. Nice to see someone else loving Deconstruction as much as I do.
|hahaha yeah can someone please explain how to avoid that annoying lowercase r thing? |
"...rrrrnaming ten..." Really!?
|@Norse Gangsta Fixed! Thanks. |
|nice list man|
|I completely agree with you in regards to Battles, but for me it's the other way around. Also, Swarms love|
It's pretty awful, and I'm not just saying that because Hunter Hunt Hendrix is a bag of dicks.
|good list, I would have squeezed in Mastodon, Machine Head, Chimaira|
|There's a few good ones here, but 2 and 34 are really bad.|
|"I think the misconception here is that "Deconstruction" is nothing but a big fart joke."|
No, it's just a shitty album.
|The only reason anyone hates 34 is because of the douchebag frontman. You can claim otherwise, but I don't buy it. If nothing else, it's admirable for trying something a bit different. |
There's someone that thinks that Fucked Up is bad? Really? I mean I could see not loving it but.. bad?
|i thought Fucked Up had a pretty good rep on this site, was gonna check em out at some point. guess not|
|Nah 34 is bad because it's boring as fuck and goes nowhere. The frontman being a complete retard is just icing on the cake. And as for Fucked Up, I also thought that was boring as hell too.|
|It does, Keyblade.|
|"The only reason anyone hates 34 is because of the douchebag frontman. You can claim otherwise, but I don't buy it. If nothing else, it's admirable for trying something a bit different."|
HHH claims burst beats are more true to life than blast beats, but I don't buy it.
It has terrible, uninspired songwriting with blasé instrumentation, for one. And giving a band credit on the basis of trying something different doesn't make the result any less awful.
But even if I didn't think it was that bad, there were many more releases in metal this year that would outrank it easily.
|my bad, in my mind 34 was the Fucked Up album.|
|"giving a band credit on the basis of trying something different doesn't make the result any less awful."|
True enough. I found what they were doing interesting. My point is that if it weren't for the frontman, you all may still think it's shit, but you probably wouldn't care enough to whine that it's ranked 34th on some guy's list. You'd probably hear it once, think "wow, that blows" and move on to the next thing. The band's got an intense amount of hatred directed at them, and it's not based on the music.
"But even if I didn't think it was that bad, there were many more releases in metal this year that outrank it easily."
I agree, which is why I have 10 metal albums here outranking it.
|Damn, nice list dude. You clearly put a lot of time into writing this. Well done!|
|"In fact, songs like "Sumeria" and "Poltergeist" don't contain a single fart joke|
if you actually have to say this than this album is in itself a fucking joke
|"These guys are the first that I've heard pull it off."|
Then you have probably passed by the last 20-25 years of BM.
|"The band's got an intense amount of hatred directed at them, and it's not based on the music."|
No, of course, it's not. It's based on ridiculous assertions HHH made about black metal, and I think he deserves every last bit of that ire just like any writer should expect heavy criticism for making unfounded claims on any subject.
Even if you don't like black metal (and, therefore, presumably would have an investment in literature written about it), even at a glance, it's filled with fallacies, false dichotomies, and generalizations to fit his argument.
Obviously, some metalheads hate HHH in the same way they lash out at intellectualism or "hipster faggotry" in metal, and that's unfair and dumb.
I don't think the guy is a douchebag for having a system of thought behind his music - in fact, I'd welcome it in more bands - but if it's a poorly reasoned one that is giving his band undue credit, then, yeah, I am going to give Liturgy more shit for it.
"I agree, which is why I have 10 metal albums here outranking it. "
Lol, well, I'll just say we have different tastes in metal.
|*(and, therefore, presumably wouldn't have an investment in literature written about it)|
Ugh, time to sleep.
|cool list, you really need to check out|
Submotion Orchestra- Finest Hour
|@Xenophanes - I have to say it because everyone that listens to it is hung up on 1 to 2 minutes of the album and ignores the parts that aren't humorous at all. And I could have named four or five songs. |
@Wolfhorde - Yep, that's more than probable. I'm still having trouble articulating my ideas about music in general. The whole hard/soft thing isn't entirely what I meant but I couldn't think of another way to put it.
|Did you mean pulled it off (well)?|
|It doesn't matter what you were meaning, Deafheaven haven't done anything that hasn't been done before. Probably even better. |
|@Vesper - Then my original assertion that this whole thing is based on is true. Your hatred is based on his words and not his music. The fact that his music happens to be shit to you just makes you hate the guy more. My point here is that me including it in this doesn't show any sort of endorsement on his words, only his music. Thus, the only comment I deserve here is one based entirely on his music. And as you say here:|
"...I'll just say we have different tastes in metal."
It's clear there were other things on this list that you didn't like, but still you picked Liturgy to complain about. Sure, you could say it was just because it really was THAT bad, but you just said that Liturgy deserves extra shit based on all of those claims he's made. Believe me, you don't need to convince me that the guy is retarded, a douche, or whatever else you want to call him.
@Twlichty - Thanks. =) I actually listened to Submotion Orchestra some and wasn't really feeling it. I'll probably give it another go sometime though.
|HHH being a total douche is an understatement. just watched that interview, ugh|
|@Deathofasalesman - Sort of the same thing, isn't it? |
@Wolfhorde - I'm sure that someone somewhere who knows more than me about what they're talking about would disagree with you. Remember, I did say "that I've heard." I'm sure I haven't heard nearly enough.
I think what I was meaning was more the way they combine post-rock and black metal so seamlessly. Post-rock finding its way into various genres is, as I understand it, a pretty recent trend that many bands across the board have tried. Deafheaven's use of the influence sounds much more fluid than anything that I have personally heard.
|Despite this whole post-rock/black metal thing being quite of a hit and miss you obviously haven't heard much. |
|...Yes, I believe I just said that.|
|Your original assertion: "The only reason anyone hates 34 is because of the douchebag frontman. You can claim otherwise, but I don't buy it."|
If by that, you meant, "The only reason anyone makes a point of commenting on hating 34 is because of the douchebag frontman", then you would have had a more probable assertion.
You might think it unfair, but people both love and hate countless bands for more than just the musical aspect, especially when a band espouses or represents an idea, and it's facile to consider music without that which is central to its composition, as is the case here.
My point in explaining my problems with his manifesto/interviews was that, even though there are others that I think are just as bad musically, HHH invites the joint comparison of his words and their teleological conclusion, Liturgy.
Yes, of course, I pick on them and commence being a whiny, complaining hhhater (I like how you term my legitimate criticisms of Liturgy as "whining" and "complaining") when people claim to find anything redeeming in their work, because there's more to object to than just shitty music. I don't separate Liturgy's tedious music from the bloated, equally tedious context HHH set up for it.
That is to say, considering how closely HHH's Transcendental Black Metal is tied to Liturgy (they are, after all, the only "transcendental black metal" band in existence), I'd say you'd have a very difficult time endorsing one without the other, since HHH himself treats Liturgy as the sonic manifestation of his hypothesis. He has explicitly said he made Liturgy into a four-piece to realize the burst beat, which, by the way, already existed although nobody cared to coin an elementary analogy to the "ebb and flow" of life and just called it dynamic drumming.
tl;dr - I get supremely annoyed when people praise Liturgy, because not only are they a load of crock, their supposedly new, groundbreaking ideas aren't new or groundbreaking at all, and an intellectually grounded and/or ecstatic approach to black metal has been done far better in recent years with much more interesting music alongside it (see Fell Voices and Ash Borer). So people who like - at best - a musically average band like Liturgy just come off as people who don't listen to much black metal, and I come off as a whiny metalhead hellbent on destroying HHH, so I guess we're done here.
|Thanks for the input, Zackyboy. Always appreciated.|
|You're quite welcome.|
Look, a micro-penis!
|"(see Fell Voices and Ash Borer)"|
Has also been done way before them.
|That's why I said in recent years, in case the dude wants more contemporary, hip bands, ya know?|
|ITT: Futile frivolity.|
Other than that...good list. Lots of good descriptions, should probably be featured.
|Don't you flash your chode at me.|
|Fuck dem hipsters. |
|No, you're the one with the chode, Angel.|
I have an octo-penis.
|Sounds C'thulu. |
|I get all the Japanese girls.|
if you want some good 2011 screamo, give Raein a listen
|Distal below Beau Navire, really? I second Balckbetl in suggesting you get the Raein album btw..|
|Not the Japanese octoporn again.. |
|Pretty good list, some I've heard and some I haven't some I liked some I didn't.|
|*Korean/Japanese Octoporn |
|Not like I want 'em.|
Unless I have some ear plugs. Then we're good to go.
|Better get some nose plugs too...|
|Aw, what's the matter? Can't stand the whining?|
|Crygasm, lol. |
|Can't stand dem bitches whining in n out ov bed.|
|I wonder how the other Asians sound. Something tells me I don't wanna know. |
|Sumeria is a fantastic song.|
The only part of the album I don't like is the coliseum-esque crowd thing, it goes on far too long.
|Pretty good list. Missing some, in my opinion. But you got Grouper and Giles Corey on there, so it's all good.|
|@Vesper - haha, well, we could go on all day here. But it's a little ridiculous to say that you can't endorse the music without endorsing his manifesto, because you can listen to the album without reading his words at all. I read, like, a paragraph at most. "'The only reason anyone makes a point of commenting on hating 34 is because of the douchebag frontman', then you would have had a more probable assertion." Yeah that is basically what I was getting at. I get hating the band. What I don't get is hating it so much that you give other people shit for NOT hating them. When I said "whining", I wasn't referring to you're disliking the band, but to your commenting here. Which, at the end of the day, just seemed pointless to me. |
Everyone else who had something nice to say - thanks!
|I just said exactly why you can't endorse the music without endorsing HHH's manifesto - it's the realization of it, the two are one, etc. and HHH says precisely that.|
I don't get why you think it's pointless for someone who disagrees with your choice of putting Liturgy on here to speak up. Do you only want comments that are nice and approving? That's pretty foolish.
It doesn't mean I think I'm going to convince you to think what I think. But I, at least, like to have conversations with people that might help them see something differently, even if they still stand by their original position at the end of the day.