Gerard Way Hints at New Album at London Comeback Gig

Gerard Way last night hinted at a new album during his show at London’s KOKO. His UK tour which came to a close in the capital left fans doting as he promised a new album in September 2015.

Earlier in the year, the 37-year-old had revealed his plans to debut his new solo album in the UK after deciding to delve into Britpop and last night, Way stuck to his promise as he performed to an audience of 1,400.

Now, however, it seems there may be new material on the way. Gerard told the audience “Next September. New album after the tour. I don’t know what we’re gonna do…but we’re gonna do something.”

Accompanied by his uniformed band clad in matching white shirts and black bottoms, the quintet opened with the first number from new album Hesitant Alien. Bureau, a fist-pumping track with a resonant beat, was welcomed with cheers from those standing in the stalls, to those watching afar from balconies.

The succeeding track, Action Cat was sung with note-for-note precision to near-studio quality. The crowd went wild as he swapped his clean lyrics for a more “decorated” vulgarised version on the bubble gum rock track.

Socks were thrown (amongst other more intimate pieces of clothing) as part of an inside joke Way had made on his Facebook page earlier in the day, to which he joked “Look at all these f***ing socks! Is this Reading [festival] or something?” before delving into Zero Zero, a chant-fuelled hit and one of the few tracks on the album that leaned toward the heavy side of the rock spectrum, a side in which the frontman once specialised in.

In between sets, Way paid homage to his fans, thanking them “for allowing me to keep making music” and sent commendations to his support acts and fellow comic book artists and/or comic fans alike.

Millions, one of two singles on the album followed. Swapping his usual guitar for a lighter, more facile instrument, a tambourine-wielding Way moved across the stage in what can only be described as spasmodic. Known for his jerky, convulsive dances, the unnatural ginger was the epitome of awkward glory.

The next song on the set list was Juarez, a promising number set to become a single and an all-around crowd-pleaser by the enthusiastic response of the audience.

Way mostly breezed through each number, his range evermore indisputable as he hit high notes without a fail, but was shaky when plunging to low notes.

Heavy reverb in the vocals worked well with Way’s voice, yet it seemed as though the musician was hiding his talent behind an overpowering lead guitar, which may have been a fault of the mixing desk or a deliberate action.

Gerard Way rose to fame as the frontman of internationally acclaimed American rock band My Chemical Romance. The band, which split up in March of last year have since all returned to the music realm, although separately, with Frank Iero performing in London two days ago (Nov 8).

Gerard’s next stop is in Mexico City, where he will perform at popular venue José Cuervo Salón on November  14th 2014

LIVE REVIEW: Deco Ensemble

Music at Leyton this month was quite unlike what most have grown accustomed to. Deco Ensemble graced us with their refined playing techniques and unusual sounds. A blend of traditional Tango and jazz with a hint of some Classical influences, the resulting sound was something unheard of, a fusion each composer's work they performed probably hoped against hope would combine well and compliment itself. In fact, the most unusual thing about the ensemble is it's arrangement. A quintet consisting of a violin, double bass, piano, electric guitar and the leading instrument, often holding the melody, an accordion is an uncommon setup. Yet, it works, just as each composer had intended. 

The composer of the first set of four pieces, The Four Seasons of Buenos Aires, was renowned Argentine born Ástor Piazzolla. Initially, these pieces were recognized as four separate compositions, although he sometimes performed them together. After introducing themselves, Deco Ensemble delved straight into the first piece, Invierno Porteño. Sabina Rakcheyeva (on the violin) and Elena Marigomez (double bass) drummed a beat on the body of their stringed instruments before Bartosz Glowacki took the lead with the accordion, in such an expressive manner and with overwhelming emotion on his face, his solo came across heartfelt. Who knew such intensity could be rammed into such an underrated instrument? Once Ricardo Gosalbo (the pianist) and Rob Luft (electric guitar) had joined in, the sound that ensued was remarkable, to say the least. A mixture of Persian-Jewish sounding celebration and a Jazz vibe from all the chromatic notes, it was impossible to say "I've heard something similar". The melody was then shifted from the accordion to the violin, with Rakcheyeva performing just as emotionally.

Using a technique called a "whip" which made a whirring sound, the violin had the head melody once more in the second piece, Michelangelo 70. This time, the melody had a slight resemblance to well known the Bond Theme. The piano had no shortage of glissando and the double bass was rather distinct in this number, with Marigomez's fast string plucking (pizzicato), creating a slap bass sound like something out of a Godfather movie. The piece then climbed a key, which seemed a stretch as the violin was already playing at a high register. Despite this, Rakcheyeva flawlessly modulated to the key without a second of hesitation. The interval was dark and mysterious, a clever play on the original melody, but the piece returned to it's original key and melody before a grand ending. 

The next piece, Mumuki, is rather playful. The melody is passed around each instrument, beginning with the electric guitar and accompanied by the double bass. Luft's accomplished Spanish picking abilities became obvious as his swift fingers climbed between the strings. The melody was then shifted to the violin (guitar and double bass accompanying), then the piano and back to the violin before the accordion delivered a profound solo. The violin and accordion then engaged in a complicated duet. And as the tempo increased, the piece shifted from a sultry jive to an impassioned number before a swift close.

Resurrection Del Angel tells a tale of a lover's fight to find his estranged partner. The intensity and longing was prevalent in the serious stance of each musician. The piece was built up gradually, beginning with the accordion, then introducing the violin, one by one, until all the instruments were playing harmoniously. A sudden break in the music where each instrument (except the accordion) is used as a percussion instrument is effective. Turning pitched string instruments into percussion. Brillaint. Each instrument body has a different depth and therefore, a different pitched sound resonates from each tap. It works. It sounds good. 

The profound playing from each instrumentalist was admirable.The melodic range of each composition was enough to test the agility of any violinist, yet Rakcheyeva played each note flawlessly. Ricardo Gosalbo (who composed one of the pieces performed on the evening, Little Suite of Greek Dances) traveled along the keyboard of the upright piano. The double bass also had a key role in creating a rich, thick density to each piece, adding a feel of lounge room music. The guitar contributed to the foreign music feel. However, the accordion stole the show with it's bellowing, yet soothing tones Hats off to Glowacki who didn't waver once, though the instrument is a tiresome one to perform for prolonged intervals. A memorable performance, 

Deco Ensemble's next stop is Poland, where they'll be playing at the Sanocki Dom Kultury.

Deco Ensemble are Bartosz Glowacki, Ricardo Gosalbo, Rob Luft, Elena Marigomez and Sabina Rakcheyeva.                                                                                                                                                                                                  ⋆ ⋆ ⋆ ⋆

BOOK REVIEW: Submarine by Joe Dunthorne

My first review is none other than Submarine, now a celebrated novel and even more so after being adapted into a film directed by IT Crowd’s very own Richard Ayoade and featuring original music solely from Arctic Monkey’s Alex Turner. Set in Swansea, Wales in 1986-7, Submarine is the tale of soon-to-be-sixteen Oliver Tate who I can genuinely say is a very “special” character.  I think once you’ve skimmed over the first chapter (titled Triskaidekaphobia. You get the gist) or dare I say, the first page, it becomes clear just how unusual an individual our young Ollie is. And it appears he’s on a mission. A far-fetched one. Be warned.

First things first, Oliver, convinced that his Father is suffering from Depression, takes matters into his own hands. This involves a visit to the funfair where he hopes to shock his father out of his permanent rainy day. To make matters even worse, he’s sure that his Mother is having an affair with her capoeira teacher, Graham. Oliver decides this hippy-looking ‘twonk’ won’t have the satisfaction of splitting a perfectly dull home so he follows their every move while the unsuspecting adults get up to no good. Meanwhile, at school, Oliver has gotten the idea that he’s a decent lad (debatable) and his peers and teachers look up to him (they really don’t). He’s discovered the art of torment and along with his best friend, Chips, begins a taunting frenzy directed at a rather miserable “Fat” Zoe (mostly just known as “Fat”) until she’s forced to breaking-point and transfers. But rest assured! She does reappear later on, having lost the pounds and gained the confidence. And she’s out to seek revenge.

Elsewhere, things get uncomfortably steamy (or maybe soggy would be more accurate a description) and tense as he’s been forced into the Love Game when he falls for Jordana, the girl with irritable skin who has a thing for setting things alight. Blackmailed into a relationship he considers a win/win in any case, Oliver decides he wants to lose his virginity to his beloved pyromaniac girlfriend before his sixteenth. But, it appears you can’t seek relationship advice from an encyclopaedia. Or a dictionary (let’s get things clear, nothing with a glossary or an index unless, of course, it specializes in the area i.e. Men are from Mars, Women are from Venus?).

Join Oliver through his triumphs and his Oh-my-god-I-never-want-to-see-the-light-of-day moments. Discover the strangest vocabulary you never knew of, meet the pansexual who lives down the road and grasp the concept of adolescence through the eyes of a boy who’s seen it all and survived to tell the tale. Submerge yourself in Submarine. I dare you.

Submarine is available in the College Library.

LIVE REVIEW: Tom Odell

Rising star Tom Odell has had quite a year, having his debut album Long Way Down rank at number 1 in UK charts (alongside the Deluxe Edition which came in at number 2), performing on The Voice and X Factor finals, modelling for Topman’s new range of clothes and touring North America. Now the newly acclaimed artist is breaking more ground. His sold out UK tour came to a close at the O2 Shepherd’s Bush Empire last night. Tom and his band took to the stage and had a storm on their final night. They managed to summon energy for one last time and ignite a fire among the crowd.

Shepherds Bush Empire, London. Tonight! who's excited?
— Tom Odell (@tompeterodell) October 22, 2013

A very stripped back set (pictured Max Goff, Odell's guitarist) 

His new single “Grow Old With Me” opened the show. Despite his stripped back set consisting of a cello, guitars and a miniscule snare drum (think Mumford and Sons), his surging vocals and swift piano skills created a simplified, smoother sound. It worked pretty well. The song’s climax was rather abrupt with the snare drum, bass and additional vocal harmonies being introduced, creating a soulful tidal wave. You couldn't hear a pin drop amongst the crowd, it was deathly quiet, all eyes on the frontman as he sang his heartfelt plea. Now, that’s how you open a show.

His decision not to go full on guns ablazing with various instrumental accompaniments was wise, as the small set was far more intimate. We realise his greatest assets are his raw voice and piano, the rest of the instrumental arrangements are the icing atop the musical cake. There is plenty of interaction between Tom and his band as he whispers private jokes. We want in!

Odell continues with his number 1 hit and crowd pleaser “Another Love”. Immediately after the first set of chords, the applause and screams are thunderous. The emotion is almost palpable as he pounds and thrashes on the piano. “I’ll use my voice, I’ll be so fucking rude”, he sings harshly, giving us the impression that Tom is more than just a heartbroken youth. “Words they always win, but I know I’ll lose”.

His next song, “Can’t Pretend” is received just as well. His vocal ability is tactful as he starts off eerily soft. And before long, he is full on belting notes, making the performance more convincing and intense.

To close he sings a cover of Etta James’ “I Just Wanna Make Love To You”, before kicking his piano stool and mic over and pounding an improvisation on the piano.

 Although a very chilling, yet enjoyable performance, Odell’s tendency to strike odd chords repetitively is costly. The manner in which he performed became a hindrance as he quite literally pummelled the grand piano, whic was at times hard to watch. That being said, Tom has potential and time to improve his performing techniques. No doubt he’ll be doing great things in 2014.

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LIVE REVIEW: Muse

Whoever said money can't buy you happiness obviously never attended a Muse concert. With all their fire blazing antics (sparking fears of a fire outbreak among the locals near Ricoh Arena during their rehearsal earlier on in the week), acrobats drifting along the skyline, their new installment Charles the Robot, half-crazed bankers, fuel guzzling business women and a techno onslaught of lasers and strobe lights, it is no wonder they've been named Best Live Act in the World Today for the fifth year in a row. 

.@Muse rehearsals at Coventry's Ricoh Arena spark fire concerns after picture is tweeted http://t.co/Dvdl59T41V PIC: pic.twitter.com/TrHBmJ0kRn
— BBC News England (@BBCEngland) May 21, 2013

We fired up the power station tonight. It nearly blew up Coventry! :)
— Matt Bellamy (@MattBellamy) May 20, 2013

The trio opened their first night at London's Emirates Stadium with their first release of the year which featured on their album trailer. The 2nd Law: Unsustainable pulsed through the stadium with it's mass mixture of arco violins, dubstep instrumentals, newsreel reports, robotic vocals and prog rock. Matt Bellamy's ad lib marked the climax of the song. The stage itself became a projection of "Charles the Robot's" face, singing on cue to the computerized voice. The buzz among the 60,000 strong crowd was almost tangible. 

I want one of these, 20 feet tall, patrolling the stadium singing Unsustainable. pic.twitter.com/r8AwfNYDIN
— Matt Bellamy (@MattBellamy) March 9, 2013

"It's good to be home!", shouts Matt in between songs. The first song from their album, Supremacy, followed. Balls of fire emerged from the four industrial chimneys merged with the stage, flaring according to the beat of the opening riff. The heat could be felt from the ground.

Bellamy fiddled around with some melodies on his custom made Manson, before swiftly shifting to the melody of crowd favorite and all round grandiose number Supermassive Black Hole from their 2006 album Black Holes & Revelations. However, the song ensuing had everyone jiving and swaying to Wolstenholme's smooth funk bass. Panic Station was delivered with comedic visuals of global figureheads and international leaders (Obama, Pope Francis and Kim Jong-un to name a few) break dancing and giant trumpet wielding reptiles swaying in time to the music. Taking a look around, you'd know you weren't the only one thinking you were hallucinating. Maybe there was something in the chimney fumes? But, no. You were just at a Muse gig.  


Bliss left the crowd in a euphoric state. The 2001 hit was followed by songs from a montage of their discography including hits from their successful 2009 album The Resistance, mosh pit starter Knights of Cydonia and even a rarity that supposedly hasn't been played live since 2005, Dead Star. 

Muse's sixth song, Animals, made quite an impression when a film was projected from the stage. It featured a banker with a heavily altered sickly smile behaving like a...well, a banker. Things took a turn when the banker from the film appeared on stage B, running as if he was being pursued by something only a truly dark mind could fathom. And it seems his conscience caught up with him after all, as he collapsed in a messy heap at the front of the stage.  Then, behold, money falls from the sky, and a new currency is born, the Muso. All the while, a fully-suited business woman was guzzling from a fuel dispenser, before also dramatically toppling over. The stage platform then lowered both her and her refreshment pump to hell off stage. But, rest assured, she reappears later on in the concert. 

Dominic Howard and Chris Wolstenholme then indulged in a two minute drum and bass jam (nicknamed Monty Jam after first being performed live in Montpellier, France), before Matt made his way to a white Yamaha grand piano and struck the first chords to Feeling Good, made all the better with a striking reverb effect. Enter Howard with the thunderous cymbals and smashing drums, then Wolstenholme with his resonant-sounding bass. 

Follow me ensued and the strobe lights were on full blast, shooting laser-looking beams over a sea of faces. The drop in the dubstep-influenced song had the crowd breaking out in wild mosh pits.

Bassist, backing vocalist and occasional harmonicist Wolstenholme took charge next with Liquid State, one out of two of his very first songs that he solely wrote and composed. It's always good to see the quiet one in a band pipe up, and with lyrics about his struggle with alcohol, the entire Muse fanbase have indeed been waiting for the bassist to take to spotlight. However, Chris' vocals were noticeably weaker than frontman Bellamy's and he seemed to struggle to hold notes. One cannot help but compare the two. With all this kept in mind, Wolstenholme makes a flawless bassist and an even better backing vocalist, both of which he'd be better off sticking to.  

Bellamy took the lead next, donning a pair of lyric-reading, custom made glasses and delving straight into Madness after dedicating the love song to his fiancée, Kate Hudson. Pink and purple stage and strobe lights tainted the stadium a passionate magenta. Back to the slightly more heavy stuff, Time is Running Out was followed by New Born. They then played a snippet of Ashamed (a 1999 B-side) as they're outro for New Born, teasing the audience.

By then, the sun was long gone and the glorious stage illuminated the crowd. Bellamy moved down to stage B, where he lazily sprawled himself on the end of the runway-looking stage, mic in hand, eyes closed, oblivious to the die hard fans wetting themselves a meter away from him. Rock stars, eh?

"If you've all got your phones on you, wave them in the air", Howard told the still roaring audience. "This next one's called Blackout." Almost immediately, the stadium twinkled with thousands of phone screen lights. A touch sentimental, it was a make shift "candle lit" moment. And things took a surprising turn when an enormous light bulb appeared in the sky (quite literally came out of nowhere) and a female trapeze artist (I told you she's be back!) popped out of the bottom, twisting with ease, turning at 360° angles and gracefully pirouetting through the sky. When lowered, she managed a quick high five with Bellamy, before being lifted into the sky once more.

Still at home on stage B, gazing into the night sky, we saw another side to Matt Bellamy. The frontman has been hiding behindhis array of guitars, pianos and the occasional keytar for his entire musical career. So to see him guitarless, it was as if he had been laid bare for all to see. He had nowhere to hide and everywhere to explore. And explore he did after seamlessly singing romantic ballad Unintended. Bellamy got close and personal with the lucky fans at the barriers along the stadium, even giving a handful of belters the chance to sing along to R&B, slap bass number Undisclosed Desires.The trio then walked offstage briefly, the crowd's applause unwavering.

Their fire didn't dwindle as they returned, this time playing Official Olympic song, Survival and long time crowd favorite, Plug in Baby, while the crowd were again treated to original visuals. 

After yet a second encore, in which the band played The 2nd Law: Isolated System, Uprising and suiting for the now black sky, Starlight, the band bid a final farewell. "We wish we could do this all night, but we can't!", Matt told the doting fans. "You've been amazing, London!"

And so, the first night at Arsenal's Emirates Stadium drew to a close, with Richard Cheese's cover of Chop Suey! lightening up the disappointed faces. Disappointment at the fact that it had to end, sooner or later (later would've been ideal). 

Muse's Unsustainable Summer Stadium Tour will be shortly followed by a global tour which will see them on the road for a year

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