Critical response to the critical response to X-men: Apocalypse

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I can distinctly remember the very first time I picked up a comic book. It was September, 2007, and I was thirteen years old. For some, this may be considered a little on the late side, but it wasn’t the DC/Marvel hoards that prompted my first visit to the Limited Edition Comics stall in the local indoor market. It was Gerard Way’s Dark Horse ‘Umbrella Academy’ series. Although that series ended in 2013, my love for comic books was born out of my love for Way and his band, My Chemical Romance, so I’m grateful to him and to that series for giving me a passion I have carried with me into adulthood.

Once I’d accustomed myself to the reading style of comic books, the instalments of Umbrella Academy weren’t enough to satisfy me. I went back to that comic book stall and picked up the first comic book with a name I recognised. The X-men. With its many variations and storylines spanning decades, there was no shortage of material, and I fell in love.

This backstory (my origin story, if you will) may seem irrelevant, and largely it is. But I chalk my love of comics up to the wealth of brightly coloured, good vs evil narrative I was exposed to through 1980-1990s X-men. These are themes I identified with most prominently when I went to see X-men: Apocalypse last night. I was blown away, and I didn’t even see it in 3D. (although I’m going to see it in 4DX over the weekend.) Some films are just MADE for 3D, and the action shots in this one are a clear example of that.

I was so in love with it- the colours, the nostalgia, the nods to the core fan base. If it is to be director Brian Singer’s swan song, it’s a fitting tribute to his unique reboot of the franchise, and adequately paves the way for the new, younger cast to take over the characters.

Reading other reviews from so-called critics, I couldn’t help but fear there was a little palm-greasing from The Disney Machine. (Disclaimer: that’s an opinion and not in any way factual, please don’t sue me, corporate lawyer men) Most of the things the critics are dissing Apocalypse for, like predictable story lines and a fairly 2D villain, are pretty standard Marvel Superhero Movie traits, but Civil War and Avengers: Age of Ultron are held above this criticism, apparently.

Not to mention the key fact here- films are for fans, not for critics. Just as we can’t expect film critics to know the complexities of a multi-platform franchise for EVERY film they see, we shouldn’t ignore the complexities of a franchise with THIS much backstory. Apocalypse has given us back some beloved characters that have been woefully neglected in the X-Men franchise of recent years. It’s making X-Men fresh again and bringing in new audiences whilst being meta enough to continue pleasing diehard fans. If I were a PROFESSIONAL CRITIC I’d give it 8/10, but I’m not so I’ll just say this; the critical response to X-Men: Apocalypse has been surprising and, frankly, unjustified. If you liked X-Men: Days of Future Past- go see this film. If you don’t like X-Men and don’t WANT to like X-Men, maybe give it a miss and stick to the predictability of the Disney Machine’s Marvel Movies. At least then you’re guaranteed the story tropes and characterisation you know and are (apparently not) tired of.

Radiohead -A Moon Shaped Pool

4/5

Yesterday, Radiohead released their 9th LP through online streaming services (excluding Spotify, so we’ll all have to work a bit harder to get ahold of it until the physical release for now). Moments after release the reviews began pouring in, as both small and larger mags and critics scrambled over each other to get their piece out ahead of the curve. In my experience, and this is an experience shared by many, Radiohead are never to be judged wholly by the first listen of an album. Songs that seem to simply blend into one another at first contain many layers, and with each new listen through the ear will pick up on a melody here or a clever lyric there that was missed at first. With this in mind I provide a disclaimer to this review: My opinions are likely to change, and I may well post an updated review in 6 weeks after I’ve inevitably had the album on repeat in the office as the soundtrack to my day for a month or so.

Tuning in to the BBC 6 listening party, I couldn’t help feeling a bubble of excitement and the vague sense of belonging that comes from being part of a moment you know will be remembered in your personal history, if not in musical history as a whole. This was one such moment, as the album was introduced as a ‘worldwide listening party’ and Burn The Witch, the single released earlier this week and first track on ‘A Moon Shaped Pool’ wriggled its way through my anticipation and the inevitable hype and began to sink in, properly. Where the music video drew some of my concentration away from the sound, I could now focus, a focus that is always heightened when listening with a view to review. My university-honed analytical skills were activated, and I began to appreciate Burn The Witch as a comment on society rather than just another vaguely unsettling track from a vaguely unsettling band.

I won’t go through the album track by track; Radiohead albums work best as complete pieces. You wouldn’t review a book chapter by chapter (unless it’s a book of short stories, but that doesn’t apply here). Radiohead should be played continuously as a stream of consciousness. Throughout, Radiohead maintain their well-honed knack for creating a hypnotic waking dream which makes you feel like the protagonist of a drama that probably ends in a horrific car-crash after an extended driving-through-the-rain-at-night-to-the-sound-of-Daydreaming sequence. It makes you feel uncomfortable and out-of-sorts no matter where you are; which is particularly disjointing when sitting in a brightly-lit office listening through headphones whilst the rest of the world goes on around you.

In some parts, A Moon Shaped Pool sounds like a teenager experimenting with the various novelty buttons on an electric keyboard, but they layer sounds with such technical brilliance that it would be sacrilege to accuse them of not knowing exactly what they are doing. The album is full of lilts and lulls, growing in richness and volume, stripping itself back to almost nothing but vocals and a base line, and then layering instruments so seamlessly you don’t realise you’re riding the waves until the track trails off and into the next. It would be very easy to accidentally listen to 4 or 4 songs continuously without being able to discern where one ends and another begins, which for an album of this magnitude is perfectly reasonable.

The creative choice to end the album with a remastered version of ‘True Love Waits’ is an interesting one. Whilst the new version has received mostly positive reactions, I am left unimpressed. There are many, arguably much better versions of the song floating around the Web if you know where to look, especially some well-recorded live versions that do much more with the bare bones of the original song than this one. Perhaps it’s a way for Radiohead to remind us all that they are a Big Deal, or maybe they’re feeling nostalgic. Whatever the reason, it doesn’t take away from the fact that this is a good album, an interesting experiment and a testament to Radiohead’s fearless commitment to creativity. Love them or hate them, at least they’re not producing the nondescript indie-rock that is saturating the market.

Counterfeit- Electric Ballroom 23.04.16

Blood. Sweat. Tears. Ok, so the blood was down to inappropriate footwear and the tears were mostly a reaction to all the sweat in my eyes, but still.

For those in the know, Counterfeit are the new(ish) kids on the block tearing the European rock scene a new one. For those not in the know, they’re still tearing new ones across the continent, so go check em out on one of their remaining dates.

I’ve been a fan for a couple of years, seeing the band through  some lineup shuffles and a rebirth from The Darling Buds to Counterfeit. So I decided to go with the whole package- the VIP experience. For an extra couple of quid the band will do your laundry, homework and drive you home after the show (disclaimer: this might not be 100% true). But no, I got to enter the venue an hour or so early, meet the band (selfies and signings) and then roam the venue aimlessly waiting for the bar to open.

First up were Monarks, a British four-piece who had, as first support, the toughest job of the night. Electric Ballroom are notorious for having early stage times with early curfews, I guess because the place doubles up as a club even on gig nights, so no crowd is likely to be 9pm enthusiastic (or 9pm drunk) at 7. Monarks smashed it though, setting the tone for the whole night and converting hundreds of people to their particular brand of good ‘n’ heavy rock ‘n’ roll. (I wanted to get a picture for this article but I was stuck behind some very tall people).

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Next came Bellevue Days. This is the kind of band really cool, edgy people listen to, so you should listen to them if you want to sound cool and edgy as you stand in a bar in Soho and talk about all the best new music on the scene. They kind of made me feel like I was at a Dave Matthews Band arena show- probably because they’re destined to be playing arenas in the not-too-distant future. They’ve balanced the serious stuff with the ‘we’re real people too’ stuff, with anecdotally clever songs like ‘Ripped Jeans’ that make you smile when they start off but have you kinda singing along by the end.

I squeezed my way a little further into the crowd as Bellevue Days left the stage, feeling the crowd tighten and thicken in anticipation for the main event. Counterfeit are loud and brash and very in-your-face, so I wasn’t expecting them to take to the stage quietly. The stage was bathed in purple light as Prince’s Purple Rain was played prior to the band’s taking the stage. It was a touching, fitting tribute, felt and experienced in a powerful way by everyone present.

It’s rare I go to a gig and don’t document the details for writing-up later. I can’t help it, the aspiring music journalist in my HAS TO DO IT. So it’s a real testament to Counterfeit’s performance that i have but two blurry pictures and vague memories of my favourite songs being played. Maybe I shouldn’t have waited two days to do the write-up, either, but my ears have only just stopped ringing.

Jamie Campbell Bower is a name you may have heard already, he’s done some acting and stuff, but don’t hold it against him- he is one of the most energetic and charismatic front-men I have ever seen. Unafraid to jump into the crowd with reckless abandon, ambitiously climbing railings to rally the crowd into a tumultuous frenzy- he is a hazardous ball of pure energy.

A key moment, and one I’m sure will remain in the minds of everyone present, was the performance of Letter to the Lost. Jamie came down into the crowd, guitar and all, and after the mad crush of hysterical fans desperate to get a closer look at their idol, they settled down, forming a loose circle around him, whilst he explained the meaning behind the song. After losing a close friend to suicide, he wrote Letter to the Lost, and began volunteering for CALM, the Campaign Against Living Miserably, which aims to help prevent male suicide. The emotion of the song was tangible, in the raw vocals and gritty guitar somewhere between a ballad and a lament.

Counterfeit ripped through their most-loved hits, Come Get Some, Hold Fire and Family Suicide- reminding the crowd of their criminally short EP (hint, hint). But we were also treated to some ‘Live-Only’ exclusives; Addiction, For the Thrill Of It and the catchily named ‘Untitled'(side note: you may think that’s a work in progress but these guys don’t play by the rules, so we may be stuck with it). They exited the stage to screams, pleas, maybe even some threats, and it was clear they couldn’t wait the mandatory 5 minutes or so before regaling us with an encore. Launching back onto the stage long enough to grab a mic on his way through, frontman Jamie leaped into the crowd to deal the killing-blow to the crowd in the form of their latest single, and show closer, ‘Enough’.

This is a gig that will go down, in the minds of many, as the moment Counterfeit really made us pay attention. There were moshpits, circle pits, crowd-surfing and a lot of jumping. I entered the crowd feeling nervous and excited- excited to see Counterfeit live and nervous that they couldn’t live up to their hype. I left baptised into a new family- drenched in the sweat of the strangers around me, (normal) and missing both my shoes (not normal).

TL;DR- Counterfeit is more than a band- it’s an experience, and you can’t really ‘review’ it in terms of setlists and ticket sales. You gotta get yourself down to a show, and judging by the reception in London, they’ll HAVE to be back out on the road pretty soon.

 

 

 

New Acts Announced for Reading and Leeds 2016

I haven’t been that excited for the Reading and Leeds lineup this year. Other than maybe Fallout Boy, there hasn’t been a ‘shut up and take my money’ band announcement.

… Until now. The announcement this weekend of:

Frank Carter & The Rattlesnakes
Sleeping with Sirens
Asking Alexandria
Fearless Vampire Killers
Creeper
Citizen
Dillinger Escape Plan
Wakrat
Kvelertak
Dead!

Has absolutely, 100% made me U-turn on my decision not to go.

I mean, Frank Carter & The Rattlesnakes are seriously hot on the scene right now, despite the marmitey love-hate relationship I’ve had with Frank Carter over the years. Sleeping with Sirens crept up on me; I heard ‘King For a Day’ a few years ago and didn’t love it, but bought With Ears to See and Eyes to Hear’ on a whim and it’s now made it’s way onto several of my playlists, so I’m excited to finally see them live.

I won’t comment on how I feel about Asking Alexandria. Maybe in another, rantier post.

Fearless Vampire Killers are a band I saw play, and lose, a battle of the bands competition in my local youth centre about a hundred years ago. They were good sports about losing the battle despite being the best band, and I gained a lot of respect for them after interviewing them here on the site. I love bands who love music, and see it as a calling or a passion rather than a way to make money and get super famous. Fearless Vampire Killers are that band. They got to where they are through hard graft and sheer willpower, as well as through one of the most dedicated fan-bases I’ve ever encountered. Seriously, if you’re friends with one of them on Facebook, you’ll know what I’m talking about. *cough* Facebook Invites *cough*.

Creeper. Creeper, man. They work so, so  hard at what they do. Their music is a little something different, not new but a reboot of the horror-punky vintage goodness from before I was born. Creeper is a band that make you feel really cool when you listen to them, and that’s something I am always interested in.

The last band I’m really, really, interested in is Dead!. I’m a little late to the party on this one, having seen them opening up for Counterfeit in December 2015 at the O2 Academy Islington. I got to the show late, deciding to ‘skip the support bands’ and work a bit later. Luckily traffic was non-existent and I couldn’t be bothered to do anything fancy with my hair, because I got there just as Dead were taking to the stage.

I’ve been looking for a band to have a bit of a love affair with in a desperate attempt to recreate the experiences I had when I first fell in love with music. That was another band in another lifetime, and I might make a post about it one day if I’m feeling nostalgic enough. (I definitely will because I love talking about the good ol’ days like an actual elderly person) Dead! tick all the boxes for me. They sound good, look good, and have that DIY attitude that is so sorely lacking in a lot of younger bands. They don’t expect anything to be handed to them and they aren’t doing it for the payouts and the freebies. They’re doing it because they love the music, and they make you love it to. I’d probably go so far as to say they’re the act that made my decision to go to R&L2016.

Paying Respects- Lemmy

lemmy-vodka.pngThere are some events so devastating that they’ll remain in your memory forever. Events so monumental and significant that you can remember the day, time and what you were doing when you heard the news.

The death of Ian ‘Lemmy’ Kilmister is one such event. I can tell you where I was on the 29th December at 00.51 am. Surfing through Facebook whilst simultaneously hunting for the sandman. I stopped scrolling and just STARED at my feed, where one clued-in Facebook friend had broken the news. What followed were several hours of feeling numb, a sense of disbelief, checking source after source to confirm the legitimacy of the announcement. After all, many fake death rumours have gone around regarding celebrities, and Lemmy was supposed to be immortal.

When I woke up at 9am that same morning, the internet was in mourning. My Facebook, Twitter and Tumblr feeds were full of an outpouring of grief rarely seen. Friends I had no idea were Motorhead fans were paying their respects, expressing their sadness and celebrating Lemmy’s remarkable life.

In the following days, Lemmy’s friends and admirers both famous and not posted touching tributes in the form of blogs, tweets and status’s. Notably, the following from both Lemmy’s friends and those he inspired:

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The sheer magnitude of tributes from rock and roll legends, as well as the thousands of messages from fans and friends overwhelmed the internet. And the tributes continue even now, with Slash playing Ace of Spades on New Years Eve to an emotionally-charged crowd.

The culmination of this public outpouring of grief will come on January 9th, when a memorial service will be held from 2-2 at the Rainbow Bar & Grill in West Hollywood. Everyone is welcome to attend.

 

 

 

Download Festival Announcement

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On the Daniel P. Carter Radio 1 Rock Show, Download announced 33 new bands for the 2016 festival lineup in real time. It was a tense show, with prospective fans abuzz on Twitter with speculations and dream announcements. The announcement won’t please everyone, but we think it’s pretty rad:

Joining headliners Rammstein, Black Sabbath and Iron Maiden at the 2016 Donington Park bash with day splits are the newly-announced…

Friday 10 June:

The Amity AfflictionCounting DaysGutterdämmerungHavokKillswitch EngageSkilletTwin AtlanticFort Hope.

Saturday 11 June:

Architects, AtreyuBeartoothBlack Foxxes, Dead!DownMilk TeethNeck DeepRival SonsSkindredTesseracT, Lawnmower Deth.

Sunday 12 June:

AttilaBilly TalentBreaking BenjaminDelainDon BrocoFrank Carter & The RattlesnakesGhostGojira, HalestormHo99o9SaxonShinedownTremonti.

Along with the previous announcement of Korn, Deftones, Nightwish, Disturbed, Motörhead and Megadeth, there’s something for everyone.

Download 2016 is going to take this legendary fest to a whole new level!

 

 

Fearless Vampire Killers – Access All Areas

4541623526_392x2624541622813_392x241Fearless Vampire Killers is an interesting name. What’s the story behind it?

Laurence: When I was a kid my dad showed me this film called The Fearless Vampire Killers by Roman Polanski. As long as I can remember I was obsessed with the idea of vampires and so naturally the film grabbed me, terrified me, and enthralled me. I watched it all the time as a kid. When we came to naming the band not only did the name fit with our image but it also matched what we wanted to do, we wanted to go out and actually achieve something – essentially the destruction of the metaphorical vampires that plague us and thousands of other people.

 How did Fearless Vampire Killers begin?

Laurence: We’d been playing together in various bands since we were about fifteen back in the Waveney Valley where we come from. When it got to the time where everyone was deciding what their paths in life would be, we all knew we didn’t want to have to work a regular job for the rest of our lives, and we knew for sure that we wanted to affect people somehow. So we moved to London with no money, and barely any knowledge of what it was we’d be faced with. After a year we were super disillusioned with the London music scene and realised we needed to something different, we pulled together as a band and changed our name to something that would inspire certain feelings in a person. We wanted to be a band that people hated, because we knew they’re the bands that people love.

 How long have you been together?

Laurence: As FVK we’ve been doing it full on about two and a half years.

 Do you get a lot of female attention?

Drew: That would have to be a yes, we get a fair amount of female attention nowadays which is still REALLY bizarre. I mean, we don’t have groupies or anything like that, we’re not that sort of band, but recently girls have taken a shine to us let’s say. I particularly have no idea how to deal with it because in school I sucked when it came to getting girls and spent most of my time avoiding awkward social moments. I think my smoothest moment has to be one time when a girl came up to me after a gig , she told me she fancied me and all I could muster was “Thank you” before stumbling to meet the guys downstairs.

Anything you want to mention to the people who may not have heard of you?

Laurence: Leave your prejudices at the door, come along to a show and make up your mind that way, we promise we’ll give everything we have, and we’ll definitely fight for more.

Do you want to change the world?

Laurence: I guess everyone changes the world in some way. Whether you’re a teacher or a mugger. We want to do something good, and yeah definitely make a difference, I think the main thing we want to do is create something magical and vicious, and do our best to inspire people.

 If you could only get one song heard by the whole world, what would it be?

Laurence: It would be a new song no one’s heard yet; “Fetish for the Finite” It’s a song that really showcases what we’re all about. It’s raw, epic, and has a very sincere chorus. I think it’s a song a lot of people can relate to.

 What other bands are you influenced by?

Drew: We all listen to lots of different types of music from Metal to Classical music and every band member has different tastes which help bring something different to every song. Like Laurence is really into hardcore punk at the moment (and is currently obsessed with Comeback Kid), Shane listens to a lot of jazz, metal and off the wall things like Mr Bungle and Buckethead, I’m a 90s addict and love Weezer, Manic Street Preachers and Muse too are a massive inspiration, Kier’s a big pop punk man and Nick loves bands like Jimmy Eat World and Black Sabbath. Big collective influences on the band though are people like David Bowie, Avenged Sevenfold, He Is Legend, Green Day and Queen.

If you could meet anyone, dead or alive, who would it be and why?

Drew: Tough question, well for me I think it would have to Rivers Cuomo (the lead singer of Weezer). He’s one of my all time heroes and I think he always will be. His style of emotional, honest song writing had such an effect on me because throughout school (up to present day really) I felt so insecure and shy and couldn’t understand how some people could fit in so well. So songs like ‘In The Garage’ and ‘Across The Sea’ gave me some hope as someone could so perfectly describe how I felt and made me want to be in a band and write songs. I think I’d probably say to him ‘You are the greatest man that ever lived’ and if he responds ‘I was born to give’ I would probably vomit with happiness.

Could you sum yourselves up in 3 words?

Laurence: Weirdly geeky Superheroes.

 Where is your favourite place to play?

Drew: We’ve got a few places that we always look forward to playing and get really excited about in the run up to the gig but I think the top has got to be The Mill in Rayleigh. It’s just a brilliant venue, the first time we played there we were astounded by the size of it, and for a second thought we’d come to the wrong place! We love thrashing around on stage too so the big stage is a bonus and results in fewer casualties. But it really stands out for all of us because the first time we played there was the first time that we really clicked with an audience. It was at a time when we’d been incessantly playing in London for about a year to maybe a few of our friends and some uninspired, apathetic on-lookers which could be very demoralising then all of a sudden after the show at The Mill people were coming up asking for pictures and saying what a great show it was. It was so humbling and gave us the confidence we needed to really branch out and accept who we were. We’ll always love coming back there because of those people who still do so much to support us.

Anything you want to mention to the people who may not have heard of you?

Laurence: Leave your prejudices at the door, come along to a show and make up your mind that way, we promise we’ll give everything we have, and we’ll definitely fight for more.

Fearless Vampire Killer’s new EP ‘In Grandomina’ is now available on iTunes, so check it out there or go HERE

Sonisphere Through the Ages

Okay, ‘Ages’ might be a bit of a stretch, but Sonisphere has an interesting, albeit brief history and it’s a festival I hold close to my heart.

 

Back in the 1990’s when I was a wee baby, the idea for Sonisphere, a touring world festival, was the brainchild of John Jackson. By 2008, he’d signed up with Kilimanjaro and AEG Live. By 2009, Sonisphere was born in the form of a two-day festival in August for the UK and six European one-day festival events.

 

I’m going to focus on Sonisphere UK, because I’m biased like that and I was THERE for those ones. In 2009 it was a two-day festival headlined by Linkin Park and Metallica. It was my first festival at the tender age of fifteen, and I was mostly only allowed to go because it took place at Knebworth House just 10 minutes away from where I lived at the time.

 

But it was glorious. The stage layout means that there’s never a band playing on both main stage and second at the same time, eliminating the agonizing decision over which phenomenal main band to see at a time (a common problem at Download). With it being local, almost everyone I knew was there, and although that’s not a universally relatable perk, it was certainly a perk for me.

 

Not to mention the fact that Sonisphere 2009 facilitated the last UK performance of two exceptional musicians, Jimmy ‘The Rev’ Sullivan of Avenged Sevenfold and Ronnie James Dio.

 

Both 2010 and 2011 were smash-hit successes as far as the fans were concerned, although the act choices seemed a little dated at times, a little like the wet-dream lineup of a middle-aged man (which I guess it was). With acts like ‘The Big 4’ (Anthrax, Megadeth, Metallica and Slayer) all playing together in 2011, it marked Sonisphere down in the history books for facilitating legends.

 

Other notable headliners that weren’t the obvious Metallica and Iron Maiden are Biffy Clyro and Slipknot (2011) and Rammstein (2010).

 

In 2012 everything collapsed. With the announcement of Kiss, Queen with Adam Lambert and Faith No More as headliners, the festival flopped in the UK. The official reason for cancelling it was that ‘co-ordinating the festival to an appropriate standard this year had proved more difficult than expected’ but I’m pretty sure it was more to do with dismal ticket sales. This was a festival I’d been loyal to since the start, and now I wasn’t buying a ticket and neither were any of my friends.

Though the festival continued on through Europe with success, it was radio silence from the Sonisphere UK camp until 2014, when the festival returned in all it’s glory with the predictable but crowd pleasing headliners Metallica and Iron Maiden. There were some old-school surprises like HIM, and some very, very new-school controversies like Baby Metal, but overall Sonisphere 2014 was a great festival.

 

So far we’ve heard nothing from Sonisphere UK about a return in 2015, which is a little worrying. With a substantial number of acts already announced for competing alternative festivals like Download, Reading and Leeds and Bloodstock, Sonisphere had better pull it together if they’re planning on making a return. I have to wonder though, if they’re not simply struggling to find acts, with all the ‘greats’ being snapped up by competing festivals, who is left to compete on Sonisphere’s behalf?

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 Underock started in September 2010, as an idealistic brain child and just sort of mutated into the freaky sibling you lock up in the basement. We have a passion for music, film, TV and all things pop-culture. To date we have interviewed bands like Her Paradox, Fearless Vampire Killers and Rock Sugar, as well as typing our two-cents on albums, gigs and films.  Underock has also been present at Sonisphere, Download and Reading festivals over the years and are adding 2000 Trees to the list for 2016. 

Frnk Iero and the Cellebration- Stomachaches

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Frank Iero is a visionary man, This was evident in his contributions to the energetic uniqueness of My Chemical Romance, and in his short-lived side project Leathermouth. He creates a world through music, and this is something he’s continued to do with great success in his new band, Frnk Iero and the Cellebration. The name is difficult to get right on paper, and difficult to pronounce, and the sound is difficult to define. You can’t put this band into a genre category, and that makes some people uncomfortable. But the fact is, Stomachaches is an exceptional successful debut album. Every song is different, Every song is a celebration of the macabre, and the 12 songs together produce a theatrical picture of an angry world filled with a raw, intensely honest view of the world and its inhabitants.

 Songs like ‘.She’s the Prettiest Girl at the Party, and She Can Prove It With a Solid Right Hook’ brings out a surprisingly softer, insightful side of the band. The song is clearly personal, with lyrics like ‘But you’re on my mind/And the things that you say hurt me most of the time’.

 

There are a few songs on the album you’ve probably heard already, made famous by their artistic, but comically distrubing music videos. Songs like ‘.Weighted’ and ‘.Joyriding’ are have it all, insightful lyrics, catchy choruse’s an contagious hooks. They’re guaranteed to be crowd-pleasers live.

 It’s not often I find a song so good it makes my personal playlist, but ‘.All I want is Nothing’ made that list on the first play-through. It has everything you coudld want, the ‘check check’ opening to provide vintage authenticity and the speedy radio-esque lyrics of a punk song, but with a rhythmic melodic, catchy chorus that has you singing it all day without getting bored.

 As far as debut albums go, .Stomachaches by Frnk Iero and the Cellebration is a damn good one. I anticipate great things for this band, and wouldn’t be surprised if there was a UK tour on the horizon. For a review of their set at Hit the Deck Festival, head over to the ‘Gig Review’ page at the top.