From the first haunting pianistic hook you're begging for mercy. Perth Elliott's 'The Gay Church' offers a keyhole glimpse into that dark place in the corner of humanities' waiting room reserved for women; all women. Within the portrait of these 14 tracks, we gape at the exhibit of open wounds in the muliebral soul. Elliott's libretto tap into the very spine of each effeminate guise. From the unrequited desperation of the loneliest lover in 'Boy'- 'makeup falls to my cheek. A story never completed. Cause my head has been cheated. With him.' - to the feigned attempt at exemption from her own flesh in 'Waste'- 'father i'm. building a boat. I'm. letting it off on. Waters that run.'- to the venereal promiscuity showcased in 'Prime'- 'i like the ones who run away. I like the ones who wanna stay. I like them all'. We share in each burning affliction, every stinging throe womanhood endures. So rapt in her prose throughout, we dare not forget Perth's propensity from that carrier of raw energy at her fingertips. With 88 allies at her beck and call, Perth delivers an array of sheer emotion so compelling that no intimations nor adage need apply. With fervent conviction, she and her instrument are one as they swallow you whole, sharply illustrated in 'Trans'' pounding recapitulative meter. And yet other arrangements, as complex as Elliott herself, parade around your auditory senses; from the disheartening, melancholy, and exposed 'Can't Stay' to the pundit sexuality found in 'Jack'. This album is a force, a movement, a celebration of the feminine dynamic in all It's fashions. Perth invites us to unabashedly delve into those open wounds and explore the anguish, the sexual liberty, and the existential despair of the 'woman with no country'. A last request Perth? Please pass the salt.