Scruffing the listener’s attention from the get-go with the amazingly-titled opener ‘Jesus Forgive Me, I Am A Thot’, Peggy wastes no time going through the gears amongst explosive samples of crowd tumult. Side by side with eerily-swaying R&B chords that effortlessly transition from verse to chorus, he not only spits but uses autotune for the peak of the hook, sounding like an impression of an early 2000s teen-pop diva. Contrasting this is the 180-degree flip in the verse to reveal the aggressive persona established on previous efforts. It’s only a brief section, handing only four bars to a pre-emptive strike of bass and distortion before settling back down, but it’s indicative of the sheer density of every moment on the album. Instrumentally, no four bars are the same, consistently evolving and behaving as untamed as Cujo. Exhaling like a sentient being, the beats all have their own personalities; they can be aggressive, bashful, playful, they feel alive.

‘Beta Male Strategies’ starts and finishes with the same narcotic loop that skips like a locked groove at the end of a vinyl, sandwiching a song that houses many sonic details that whizz like Catherine wheels. The most invigorating spectacle is the switch-up in the final third that welcomes a strained guitar solo coloured with an art-rock-lifted chord progression. Ordinarily, this would be enough to fill the space of the track, but JPEG somehow laces more heavily-layered weaves, and this ‘kitchen sink’ attitude is present throughout the project.

JPEG actually refrained from editing sounds down on this project, wanting to attain a rawness and spontaneity seen on demo tapes. The most prominent difference on All My Heroes from Veteran is trading a reduction in acidity for a more texture-driven style, but subtle tweaks are still to be found. For one, there is more singing from Peggy on this one, almost as much as there is rapping, but because it is a JPEGMAFIA production it comes with a caveat. An artist once completely against rappers who sing, is now embracing a new voice through the well-trodden medium of autotune, but as the vocal riffing on the opener indicates, Peggy finds a way to misshape it into a ghoulish mask for himself. Delving into noise pop on one of the project’s standouts, ‘Rap Grow Old & Die x No Child Left Behind’, he stands atop a bed of thunderous guitar, singing in the chorus and rapping some of his most memorable verses to date with a Q-Tip timbre. Special mention goes to the finger-snap outro that contrasts a mix-interjecting kick drum with fluttering, harp-like synth arpeggios. The sounds are all ear candy, and Peggy himself provides the lyrical protein.

JPEG is such an infectious and entertaining ringleader of this circus of a record, with all the traits of a forum user personified - his name literally comes from an image file. He’s got his head on straight, but isn’t afraid to go clenched-fist at his enemies. Be it his rap contemporaries, the alt-right, or seemingly the entirety of Twitter, Peggy has always got a bone to pick. Serving a choice buffet of cunning metaphors (‘get the picture or you and your niggas both cropped’ being the pick of the pile), ‘PTSD’ is an unspooling lyrical highlight reel. However it also demonstrates how he can go one better and flex his beliefs to his advantage: ‘No deal, y’all deal look something like Brexit’ is a crowning moment of scathing assertion, and as soon as it’s followed by ‘Bitin' crackers and wonder why you anorexic’, one of JPEGMAFIA’s most iconic lines is birthed.

Another winning characteristic is how he puts himself and what he loves into the one-liners he comes out with, chain-linking name-drops that could only come from a rapper that fully embodies internet culture. Not only on the meritorious cover song ‘BasicBitchTearGas’, where he takes TLC’s ‘No Scrubs’ and slows it down to a spliff tempo, but in his various references to Playstation 2-era action games; adored singers ranging from David Byrne to Carly Rae Jepsen, obscure fast-food restaurants, and vintage WWE wrestlers. As he shouts that he’ll ‘Bulldog a nigga like Trish Stratus’ beside what resonates like a hallucinogenic remix of a low-key piece from a Zelda soundtrack, one gets the feeling that this man may have conquered, nay become, the internet. One moment in particular where he sums himself up best exemplifies this. In the middle of an inflamed performance over the comparatively meditative beat of ‘Post Verified Lifestyle’, he drops the line “Bitch I'm Beanie Sigel, mixed with Beatles with a dash of DOOM at 98 degrees”.