You may be able to get it posted somewhere as a parody, though.
They won't read past the second sentence.
Pitchfork posts plenty of rave reviews, but you've written in breathless fanzine-speak. They won't take it seriously, not least of all because of how you've mischaracterized Quarry. "Walls of distortion"? Quarry roared like a mouse. If you'd like elaboration on that, you can read either of the two reviews of it that Pitchfork posted. They were both very positive, incidentally.
It's also depressing that you couldn't get through six sentences about Morrissey without mentioning gladioli and Wilde. Cliches, Nick.
Your tack re. Catholicism has nothing to back it up. Morrissey's calls to "God" are no more literal or religious than Jason Pierce's. He's bemoaning a case of blueballs, and since he does happen to be a rock star who's attracted mainly to younger men, I think the ethical dilemma in the song probably has less to do with the separation of the spirit and the flesh than with regional age of consent laws.
Morrissey "resigns his physical fate"? What, had he signed it to Attack?
I think you mean that he became resigned to it. And you might consider that Morrissey's heart is finally freed in the sense that it's become unweighted--because he's gotten his rocks off, making his mind temporarily less squalid.