Arranged as a suite, all the songs run together like the proverbial "song cycle" or "concept album" -- but it's not clear exactly what the concept is. The decadent Nick Cave quality of the material suggests cheap hotels, gambling debts, and late-night madness. Guitarist Josh Hughes's use of the ghostly zither gives this whole thing a definite "noir" quality. There's a great lift-off point in "Meet Me in Eternity," in which Rothbard keeps repeating that phrase until the dam bursts into a rollicking cadence that has him screaming in prime Iggy fashion. It may be the most effective combination of theatrics and classic-rock constructions since vintage Alice Cooper or David Bowie. This album is a loud and imposing mash of pounding drums, piano, guitars, and the well-lubricated vocal antics of Rothbard. Some of the melodies are so hidden, they'll only become apparent after repeated listenings. But even the first time around, it's a pretty safe bet you'll be enthralled -- especially if you like a little drama thrown in.