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GENE
LOVES JEZEBEL EXPLODING GIRLS BLESS MOMMA |
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| Veteran glam-goth band Gene Loves Jezebel’s latest offering Exploding Girls, is a throwback to the 1980s new wave/glam-goth era -- sinewy, guitar-synthesizers, snappy electronic drum-beats and emotion-drenched, drawn-out vocals. However, flecks of earthier, more substantive bands from those times, such as U2 and The Police make for a catchy 10-track set that although does not reinvent the wheel, takes the listener on a soothing, mental journey down memory-lane. | ||
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driving track “Exploding Girls” kicks things off. This is a
driving track that swerves delicately between gleefully, melodious lead
guitars and a stark, discordant rhythm section; a sort of manic-depressive
assault on the senses. Add in a low-tuned, aggressive bass line and Bob
Dylan-esque -- circa 1960s -- vocals and Exploding Girls sounds
as if it is off to a solid start.
The Unforgettable Fire-era U2 influence comes full-force on the next track, “Love No Longer”. Michael Aston even sounds a bit like Bono; not that that is a bad thing, though. He does what more lead singers today should do: sing with melody. And the guitars and bass, although hard-charging, find a way to dance skillfully around the intonations of his vocals adding fullness to the song. Exploding Girls’ spirited vocals and tight, musical arrangement make for enjoyable listening until “Jenin”. It is not a horrible song. In fact the instrumental arrangement is quite dynamic. The vocals are strong and flamboyant and surround the mellifluent guitars and resonant bass-work to create a multi-layered composition. It is the chorus that kills the song. The jarring, cheerleader-like way in which the background vocalists chant the word ‘Jenin” is annoyingly jarring. Aston’s accompanying vocals make it more digestible, though; their loose form and soaring delivery are filled with unfettered emotion, saving the song from the fast-forward button. “My Hands A Flame” and “2 Hungry Women” are reminiscent of Duran Duran, circa 1997’s Medazzaland -- a swirl of 1980s synth-pop, a touch of 1990s dance/techno and a dollop of laid-back R&B-style bass-line. Aston apparently has the gift of mimicking the vocals of the artists whose music he tries to emulate. I will be damned if he does not sound like Simon LeBon on “2 Hungry Women”. He ends the nostalgic journey with “Wind and Fire”, a light-hearted, 1990s-like rock ballad with hints of funky, electric guitars and a simple, grooving hip-hop beats that make it rock more than most. Distortion and wah-wah effects add an ethereal touch that retains the listener’s attention. Aston’s easy, euphonic crooning that gently fades as the CD nears the end, rounds out the song.
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----Eric
V. White |
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