For those listeners looking for a different kind of audio experience, the work provides the familiar mixed with uncharted territories, further exploring the map of the heart. It is outsider art at its best.

The album deals conceptually with the subject of love, as part of Annie Sprinkle and Elizabeth Stephen's seven-year long art project, Love Art Laboratory (www.loveartlab.org). Each year focuses on a different theme, with 2008 being COMPASSION and GREEN.

In “My Baby's Breasts”, Elizabeth Stephens recites a panegyric ode to Annie's breasts, accompanied by a Tibetan Buddhist fanfare. “Burning Lights” reveals the similarities of lust and sinking to the bottom of the ocean, where mermaids and The Lorelei Women's Choir reside. “Prelude / Lifting Belly” has Annie and Beth reading from Gertrude Stein's poem. “Remember” pars the couple in fond nostalgia, reciting the many capital cities art has taken them to.

“Labor of Love” (featuring Anne Harless) combines the cooking of food, gathering of the family, and familial love also represented with the distancing of the telephone.

“Kisses” is a celebratory portrayal of the basic act of love making, in a jazz trio setting.

“Before the Storm” represents a cleansing, a relaxation after tension, and is a musical orgasm.

“One of the Things I Love” converses over a danceable rhythm and shows how funky love can really be.

“The Bricks Are Bleeding” is a set piece about longing for a departed lover.

“Love Machine” is a tongue-in-cheek parody of TV detective themes, inspired by Annie and Beth's attempt to wed at San Francisco's City Hall (the two were stopped by homophobic legislators), showing how human love can be a scary thing to some people!

“Babelicious Beth” is a summer-inspired state of love-ecstasy performed by Annie, and even the birds and the bees do their thing on this track.

“A Love Prayer” features celebrated performance artist Linda M. Montano as her Italian elderly father ruminating love in the city. We end, finally, with the “Wedding March”, written in a style which can only be termed as “baroque-burlesque”.

Musicians featured on the album include Arne Rasmussen (Vidar Busk) on harmonicas, and the incendiary guitarist Paul Cordero, as well as David “B.” Jones on all saxes. Additionally musicians were recorded in various incarceration facilities. Due to contractual privacy the names of the inmates have been collectively termed The Black Museum Orchestra. The composer/producer Guttersaint came upon the idea after leaving
the mainstream music industry and wanting to find musicians “with an edge.” He states, “I'd grown so tired of the established musicians and the industry, that I wanted to find musicians that didn't care about fame or their ego, and who were coming from a completely different scene. Working in the jail environment really gave me the chance to explore other sonic possibilities and the people who joined the recording were exceptional musicians as well as a breath of fresh air after working so long in the mainstream music industry.” The orchestra's musicians are comprised of inmates from three separate jails in Norway and the USA. “It gives the term Outsider Art a whole new meaning.”

Sprinkle and Stephens recently performed their “Free Sidewalk Sex Clinic” as part of the Stavanger 2008 European Cultural Capital art festival, asking Guttersaint to join them there. The performance caused uproar and notoriety in the press and incurred the wrath of self-imposed moral guardians. Love can be a very controversial thing, it seems. Solely focusing on love and communication, the piece quickly became a statement about preconceptions, communication, and media manipulation.

ART LOVE LAB provides a rare example of post modernism in performance art captured in sound. It was made for lovers. For artists. And for you. We hope you enjoy it.