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Download links and information about Promise by Gene Loves Jezebel. This album was released in 1983 and it belongs to Rock, Alternative genres. It contains 26 tracks with total duration of 01:39:43 minutes.

Artist: Gene Loves Jezebel
Release date: 1983
Genre: Rock, Alternative
Tracks: 26
Duration: 01:39:43
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No. Title Length
1. Upstairs 3:18
2. Bruises 3:38
3. Pop Tarantula 3:10
4. Screaming for Emmalene 2:58
5. Scheming 6:26
6. Bread from Heaven 4:12
7. Influenza 3:42
8. Shower Me With Brittle Punches 2:50
9. Wraps and Arms 4:00
10. Psychological Problems 3:45
11. Shame (Original Version) 3:25
12. Influenza (Relapse) 3:48
13. Stephen (Original Version) 4:49
14. Walking In the Park 4:06
15. Wraps and Arms (Alternate Version) 4:00
16. Bruises (Extended Single Version) 4:49
17. Punch Drunk 2:23
18. Brando (Bruises) [Extended Version] 4:58
19. Scheming (Original Version) 3:33
20. Screaming For Emmalene (Single Version) 3:55
21. So Young (Heave Hard Heave Ho) 3:24
22. No Voodoo Dollies 3:02
23. Shaving My Neck 2:55
24. Sun and Insanity 3:37
25. Machismo 3:22
26. Glad to Be Alive 5:38



If bands like Siouxsie and the Banshees and Bauhaus can be considered the founders of post-punk glam, laying the foundations of what would turn into goth rock, then Gene Loves Jezebel followed closely in their footsteps with the debut, Promise. Careening, wailing guitar is matched by careening, wailing vocals from the two brothers, while forceful, semi-tribal drumming underlay everything on display. John Brand's production balances out brute force with careful texturing, allowing the group to showcase their power chops as well as their calmer, moodier side. Despite the unstable lineup at the time of recording, everything sounds like the product of a well-seasoned band, no doubt thanks to the Astons' considerable and happily justifiable belief in their own abilities. One of the more common but effective elements on Promise is a sense of quick, dramatic changes. Strong examples include the moody intro into explosive guitar roar on "Upstairs," the building roll of verses into a wordless yell on "Screaming for Emmalene/Scheming," and the sudden drop out of the music towards the end of "Psychological Problems." The Astons' near-interchangeable vocals conjure up images of desolation, highly suspect sex, freakish family scenarios, and insanity; theirs are not the most happy-go-lucky of lyrics, but they deliver them with an invigorating, about-to-crack energy. Songs often crackle with a nervous, giddy fear, while the music at its more restrained feels like an ominous call to doom. "Influenza," a deceptively calm instrumental, relies on wordless vocals from the band to increase the creeping sense of unease. Perhaps the strongest song is the most minimal: "Bread From Heaven," an allegoric, vicious slam on the English government for its treatment of Wales. The Astons' keening vocals sound like burnt calls of vengeance from beyond the grave — an unsettling, effective demonstration of their musical skills. Later pressings of the album include the fairly poppy later single "Bruises," which also surfaces on Immigrant.