There have been some dramatic concept albums released in the course of rock history. Some obvious such as “The Who’s Tommy” and some vague in nature like the disputed “Jethro Tull Aqualung ” who Ian Anderson insists is not of a conceptual nature (but we know better, don’t we?) And even these idealistic stories were superseded by the very first true rock opera, “The Pretty Things S.F. Sorrow, an obscure and unsung piece of music. We have now in our midst, a fresh effort from an old wave. The reconstruction of Frankenstein in the form of a rock opera all its own. This tale of dark and troublesome things tells us the story of a man who is madder than his creation, made from dead reanimated tissue and who dared to play God until the human creator could no longer control the created human. There is an adverse lesson within the confines of this tomb of a tale. The music is either soft and lulling or animated by guitar and vivacious power. The instrumentals are intriguing and build a crescendo of moods, alluring and illuminating our way through this sorrowful tale of woe and fear. Mary Wollstonecraft Shelley would sit up and take notice.