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GUILTY, named for Georges Bataille’s Le Coupable, is stitched from discarded fragments of metallic punk, deathrock, doom metal, and post punk—think Tožibabe, the Dead Relatives, Potion for Bad Dreams-era Void, Paul Chain Violet Theatre, and Danse Macabre. Or: vocals many have described as “girl Rozz Williams” + the Simmons SDSV + Will Heggie’s bass on Garlands + Mick Mars by way of Randy Uchida. Lyrically, GUILTY fixates on the uneasy proximity between prohibition and violation, drawing from the Pentateuch and the Gospels as much as from nineteenth- and twentieth-century literature of abjection (Mary Shelley’s Mathilda and Colette’s L’ingénue libertine).
Elizabeth Siddal, sketched as Ophelia, opens her mouth to speak: “All changes pass me like a dream, / I neither sing nor pray; / And thou art like the poisonous tree / That stole my life away.”
Each record includes comes in a chipboard jacket and features a 12 page booklet - all of which was designed by the band.
GUILTY, named for Georges Bataille’s Le Coupable, is stitched from discarded fragments of metallic punk, deathrock, doom metal, and post punk—think Tožibabe, the Dead Relatives, Potion for Bad Dreams-era Void, Paul Chain Violet Theatre, and Danse Macabre. Or: vocals many have described as “girl Rozz Williams” + the Simmons SDSV + Will Heggie’s bass on Garlands + Mick Mars by way of Randy Uchida. Lyrically, GUILTY fixates on the uneasy proximity between prohibition and violation, drawing from the Pentateuch and the Gospels as much as from nineteenth- and twentieth-century literature of abjection (Mary Shelley’s Mathilda and Colette’s L’ingénue libertine).
Elizabeth Siddal, sketched as Ophelia, opens her mouth to speak: “All changes pass me like a dream, / I neither sing nor pray; / And thou art like the poisonous tree / That stole my life away.”
Each record includes comes in a chipboard jacket and features a 12 page booklet - all of which was designed by the band.
