Los Angeles’ enigmatic songwriter and multi-instrumentalist DRAAGYN, known for her critically lauded, genre-bending blackened metal and cryptic persona, has revealed her first new music in 2 years in the form of a new EP titled “Bent Rib.” Out now, the 3 song record runs the gamut of musical design, incorporating experimental elements of black, doom and progressive metal among others that could be described as a turbulent orchestra of beauty and decay.
Commenting on the EP, Draagyn states:
“We all just want to belong. So we fool ourselves. We let others’ view of who we are become our purpose. We are convinced this hall of mirrors is the true path of souls. This cuts us off from life. The cosmos. The greater powers to which we are all connected. But there is a cord. We can find it and pull ourselves back or choose to watch it slowly strangle us. I wrote ‘Bent Rib’ as an incantation. To release myself from a world I do not belong. To weave the yarns of fate and call it my own. Man has no power over me. He does not determine me. Draagyn is the light, and is the dark. Draagyn is the good, and is the evil. Draagyn is world creator and its destroyer. It matters not whether you understand. What is important is that there is a purpose.”
DRAAGYN’s debut EP, “Bent Rib,” is an aural three-headed serpent of cacophony, “Appetite of Man,” “Beating Heart Cadaver” and “Bent Rib,” each with their own mystifying identity and slithering scales of sonic perplexity that lure you in with enchanting whispers then set you ablaze in an inferno of furious rage.
From her previous releases, Draagyn has been coined a “genre-bending blackened tour de force” by Decibel and Brooklyn Vegan. As songwriter and multi-instrumentalist, Draagyn’s sound straddles the spectrum of light and dark, bridging delicate emotions with the raw force of metal and rock in a truly singular style. Her songwriting guides other musical outliers into masochistic darkness, and yet, in stark contrast, just as quietly whispers to the wretched and heartbroken, offering refuge in her tender melodies. And while the foundations of Draagyn’s music remain rooted in rock, she does as she pleases. She may choke it with blast beats, crush it with proggy groove, or drown it in folky, pensive vocals. But the recipe works. The deep musicality of her approach is undeniable, and for those both patient and brave, her songs lure listeners to another world, free of expectations and genre constraint. Draagyn threatens us with her tumultuous vision of death and musical rebirth.