VII
is often slighted among
Gene Loves Jezebel
followers because it strays from the group's '80s hybrid of
goth
and
glam
. But
is a
album in name only, as
Jay Aston
's twin brother
Michael
is nowhere to be found. Nothing on
is as dark as
"Screaming for Emmalene/Scheming"
or as bouncy as
"The Motion of Love,"
so fans of pre- and post-
Discover
might be a little alienated. The band can't even be labeled
anymore -- not even close. However, taken on its own,
is a welcome comeback from a group that seemed lost after 1987's
The House of Dolls
. The inconsistencies of 1989's
Kiss of Life
and 1993's
Heavenly Bodies
can now be forgiven.
has the sound and spirit of an artist who has matured and become more introspective. The party's over, and mellow, melodic songs such as
"When We Were One"
"Heroine"
are about as far from
's dancefloor hits
"Desire"
"Heartache"
as they can get. The pretty balladry of
the Verve
seems to be an inspiration, and
Bob Dylan
as well.
Aston
obviously wants to be taken seriously; after all,
was once seen as
new wave
's equivalent of a
hair
band -- flash and no substance. Fortunately,
avoids being bland because of the catchy lyrics and engaging guitar work, especially the
Cure-like
ringing riffs of
"Who Wants to Go to Heaven?"
and the chiming notes of
"Love Keeps Dragging Me Down."
Odd to hear such a subtle record from a group that used to be so flamboyant, but
proves that adulthood doesn't have to be dull. Like
Echo & the Bunnymen
's late-'90s discography,
shows how a '80s
post-punk
icon can age gracefully. ~ Michael Sutton