Among the later disciples of the Smiths are the Gene, one of the great publicity stunts of 1994, put together by singer Martin Rossiter (in the role of the most whiny Morrissey) and guitarist Steve Mason (in that of the most anonymous Marr).
For The Dead (Costermonger) and Be My Light are the little songs that reveal them. Sleep Well Tonight and Haunted By You (perhaps the best) were collected on the album Olympian (Polydor, 1995), along with other cloying imitations such as A Car That Sped, Olympian, Your Love, It Lies, and London, Can You Wait. The American edition of the album also includes the first two singles. The true deus ex machina is Mason, an imaginative and sensitive guitarist who can color a song with both symphonic cascades and country wails.

To See The Lights (Polydor, 1996) collects unreleased tracks, B-sides, and so on.

Drawn To The Deep End (Polydor, 1997) does not change the essence of their melodicism without bite (One, the single Fighting Fit), nor their pathetic self-pity (the ballads Why I Was Born and Where Are They Now?), despite a U2-like impulse (the other single We Could Be Kings) and a touch of garage rock (Voice Of The Father). The original ideas, such as the tight New Amusements and the spectral Accidental, are exactly what the band does not pursue.

The band looked less and less comfortable trying to find a personal voice, so they went back to plagiarizing the Smiths on Revelations (Polydor, 1999), except that The British Disease and You'll Never Walk Again have a harder edge than usual, and Mayday and As Good as it Gets emphasize the political side of the leader's personality.

Rising For Sunset (Contra, 2000) is a live album.

Libertine (Imusic, 2002) contains Let Me Move On.