“This is what happens when you hand a good-looking guy a microphone,” sings London's masked drag icon Lynx on his debut song. By the time his penultimate, punchy, confessional “Lynks Thinks” rolls in, its acerbic spoken word bars diffused into upbeat electronics, that unspoken question is well answered. It has become clear. Through “Abomination,” which dissects religious shame in favor of scalding erotic destruction, Lynx dissects the contemporary queer landscape while paying equal homage to electropunk's uplift and lingering horror in gay history. represents. The result is a raucous paean to sex positivity, and the act has become social currency. “The day I don't get invited to an orgy, my life is over,” they spit on the soaring “Use It Or Lose It,” and survival is secondary. What you want. “If I get killed, I have only myself to blame,” Lynx muses on “Sex with a Stranger,” before resuming his reckless abandon on the largely clubby cuts. Closer 'Flash In The Pan' is a metaphysical '80s synth-pop epic where Bleachers meets Perfume meets genius, but it quickly breaks that matrix: suffocating under the inevitability of death and religious judgment; Lynx concludes that these lasting fears are as fleeting as bliss. Best to make the most of it. A vintage-future gay epic, Abomination is the idiosyncratic debut of Britain's most fearless off-piste queer act, and a quintessential cultural capsule of both punk and gay modernity. is.