Proclaimed by songwriter Jay Aston to be “the record we have always wanted to make,” the January released ‘Heavenly Bodies’ is an amplified chemical reaction to “the more creative freedom” the band allowed itself this time around. Seeking more of an edge to the Gene Loves Jezebel “musical tapestries.” They happily signed with New York’s Savage Records and began a somewhat unhurried sojourn in the studio for the first time since “Kiss of Life.” (Released in 1990.) 

“House of Dolls,” 1987, was the band’s last release that included Jay’s brother, Michael Aston. Sometimes previous to the compilation of “Kiss of Life,” the band did an analytical reformation, moving Jay into the frontman role. (“Kiss of Life” featured the single “Jealous.”) 

“Heavenly Bodies” is a shining example of how to make the most of time passed, considering it to be an evolution moving in a new, re-created direction, yet reserving goals and a personal set of standards. The harder edge is acquired with burning emotions accompanied by biting guitar hooks and curious rhythms. “This is the strongest the band has ever been musically. We are four minds with the same common goal which has resulted in more creative freedom,” says guitarist James Stevenson. 

Formerly working with producers like Jimmy Lovine and Peter Walsh, the band chose SIMPLE MINDS producer Peter Walsh once again for the Munich and London studio work for “Heavenly Bodies.” 

Following the approach traditionally taken by great British bands, they prefer playing live. It’s exactly what they live for. “When we’re on stage, we are at home. We approach our live gigs as theater. It’s about putting on an event that the audience can relate to.” The energy of the stage shows is what they wanted to record, “very naked, but true.” 

Check out “Wild Horses” and “Josephina” (also released on a 4 song EP) for some powerful stuff. 

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