The lyrical content is by now almost canonical Mozzian fare a combination of moribund fixations (child murderers, buried lovers, et al.), unrestrained melodramatic romance-wringing, and hilariously hubristic self-reference. The music, however, feels surprisingly staid for an artist who has undertaken major changes in both his personal life (a move from his longtime home of L.A. to Rome) and his creative foils (the adoption of a new songwriting partner/guitarist and venerable producer Tony Visconti). Lead single "You Have Killed Me" rolls in a satisfyingly familiar Morrissey vein, but never fully takes off. The funeral march of "Dear God Please Help Me" and the breathless "On the Streets I Ran" are close to great, but overall the album never quite matches the highs of its predecessor. It's stuffed with potentially dazzling ornaments (an Ennio Morricone arrangement, children's choirs, etc.), but the meat of the songwriting feels, for the most part, too thin and uninspired to warrant all the dressing.