In The Gilded Palace of Sin the traditional band roles are thwarted and twisted into submission; Pete Phythian sings, plays guitar and does stuff with computers, Vini Taylor plays guitar, banjo, drums and sings, and Michelle Lock plays Theremin, glockenspiel, ukulele, jaw harp, music box and various percussion.
Think of the kind of house band that would play on HBO's Deadwood, The Fall, and John Ford's The Searchers to create the kind of Gothic desert mutiny that populates the Gilded Palace. Soon after witnessing their unique refrains, Adamson immediately offered to help them steer the good ship Gilded.
From the stratospheric Dune-esque opening of 'For When We Forget', quickly followed by the tragic longing of 'Rosa Salvaje', this is an album of atmosphere. Think the fractured nature of 'Westworld', Sergio Leone and Terry Gilliam as a pose to polished purity. The rough ballad of 'Mean Old Jack' who "was 55 with his 16 children and 14 wives" crushes together the story-telling of Tom Waits, Jacques Brel and Leonard Cohen, though with a touch more theatricality. The presumptive horns of 'Vony & The Plynths' come straight out of Tarantino. It's an album of gravelly moodiness, and was mastered by Steve Fallone (TV on the Radio, Devastations, Au Revoir Simone) at Sterling Sound in New York.
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