It's difficult to take Natalia Kills seriously, in spite of (or maybe because of) her desperate desire that we do so. The British singer-songwriter's debut is stuffed with dramatic, heavily stylized dance pop featuring Natalia as a self-destructive, kinda violent victim of love. Heavily drawn shades of Gaga color much of the album, but with dark-fairy-tale allegories ("Wonderland") and heavy-handed irony ("Kill My Boyfriend") in place of Gaga's playfulness. Does that all sound negative? It's not. When treated as the high-camp dancefloor theater it is, Perfectionist kills (sorry).