For those who have remained loyal fans of Gene Loves Jezebel since the ’80s, trying to unravel the truth of where they’ve been is a bit daunting. Currently fronted by one half of the original twin-brother duo, the Gene Loves Jezebel that will play at Hell’s Kitchen on Saturday, March 10, is the official-official — at least as far as the legal system is concerned.

Here’s the deal:



Twin brothers Jay and Michael Aston formed Gene Loves Jezebel in 1980 during the golden era of goth. The band grew out of the same fertile, post-punk scene that spawned such legends as Bauhaus, Joy Division, Alien Sex Fiend and The Sisters of Mercy. Described alternatively as goth, electro-pop and glam, the band embodied the dying gasp of a romantic musical era. Gene Loves Jezebel was around when dudes ratted their hair, wore eye makeup, and melted into really, really tight leather pants as a determined act of rebellion. As the story is told, twin Michael was the dark, artistic one while Jay was a pop idol in the making.



By the mid ’80s, the band had broken into the U.S. market, and their popularity swelled to Billboard chart proportion with singles such as “Desire.” The band’s fourth album, The House of Dolls, dropped in 1987, yielding notable singles “20 Killer Hurts” and “The Motion of Love.”

Amidst increasing pop-chart success, however, rumors of artistic differences and family strife began to circulate, culminating in Michael’s departure from the band in 1989.



Jay Aston carried the torch, touring with the band sans Michael, but GLJ’s momentum died quickly.



The ban recorded Kiss of Life, yielding the single “Jealous,” which hit No. 68 on Billboard’s Hot 100. Following the early ’90s release of Heavenly Bodies, which realized only minor success, the band disappeared from the scene.



Twin Michael, having produced a moderately successful solo album and side project known as Edith Grove, eventually resurrected the name and began touring as Gene Loves Jezebel.

Brother Jay, meanwhile, toured under the same moniker.



Booking agents were very confused. Fans feuded.



A few conflicting tours and album releases later, the crew tried to come back together to release a best-of album, but rumors of renewed strife were confirmed in 1997 when the band split again — this time for good. According to California court documents, Jay sued his twin brother for rights to the name after leaving the band. But a drawn out court battle resulted in plaintiff Jay dropping all claims to the trademark.



Michael, meanwhile, seized the opportunity and picked up the baton.



A letter confirming trademark ownership appears on Michael’s version of the official GLJ Web site after clicking on a button labeled “Who rules them all.”



Legal battle smoldering, the band, now led by Michel, continues on.



The crew’s most recent release, Exploding Girl, is a classic concept album exploring the social significance of Wafa Idris, Palestine’s first female suicide bomber. Every song on the album is a testament to the women in Michael’s life, according to album descriptions. The music on Exploding Girl is sufficiently diverse — fusing and alternating between classic dark electronica, brooding acoustic arrangements and danceable grooves. The sound harkens to Joshua Tree-era U2 and is a clear indication of where bands such as Coldplay come from. Currently, Michael handles vocals and guitars for the band. Strings legend and Schecter guitar mogul Michael Ciravolo handles the other axe and keyboards. Bass player Pando is sex symbol in the making and set in motion the destruction of all life when he helped resurrect Flock of Seagulls last year. His name, in Latin, means “I spread.” I am not making this up. Rounding out GLJ is drummer Michael Brahm, who also is a conspirator in the end of all things, rounding out the new Flock of Seagulls with Pando, Joe Rodriguez and progenitor of the stupidest hairstyle ever — Mike Score. 



“This is an album that holds a special appeal for those who fondly recall the days when Goth was more about romantic yearning … and gritty pop rock than fetish gear and down-tuned guitars,” Michael quips in his description of the album — likely a little stab at brother Jay, who Michael has repeatedly accused of succumbing to emo-pop sensibility.



[Hell’s Kitchen, with Razrez, The Missionary Position, The Heavy Hearts and The Drug Purse, Saturday, March 10, 9 p.m., $10, 3829 Sixth Ave., Tacoma, 253.759.6003, www.hellskitchenonline.com]