By Rating: ★★☆☆☆
He’s been the sweaty DIY vocalist from New Jersey, trying to stake a name for himself on Vans Warped Tour back in 2004; he’s been the eyeliner anti-hero of revenge, the post-mortem marching bandleader and the redheaded killjoy.
Now, Gerard Way has re-invented himself yet again as the glam, polychromatic super hero of Brit-pop; he released the debut album of his solo career, “Hesitant Alien,” on Tuesday.
Fortunately for Way, there’s no doubt this album is the product of a separate entity. However, based on his preceding reputation, this solo-venture is a flat, underwhelming disappointment.
The debut has all the drama of ‘70s sequined glam, the sonic distortion of ‘80s post-punk, the charm of ‘90s pretty boy Brit-pop and the savage verve he started with more than 12 years ago on “I Brought You My Bullets, You Brought Me Your Love.”
Reckless energy and unapologetic artistic moxie have type-cast Way’s body of work to more than just international hit singles. His sharp musical intellect and perfectionism have separated his career from the guesswork of his colleagues.
With four concept studio albums, a few line-up changes and one of the largest fan bases this generation’s post-punk rock scene has ever seen, Way’s former band My Chemical Romance announced their foreseeable split in March of 2013.
Way married Mindless Self Indulgence bassist Lyn-Z in 2007, fathered a daughter in 2009 before MCR’s final album “Danger Days” and professionally approached his creative first love, comic books. He’s been writing the award-winning graphic novel “The Umbrella Academy” and designing concept art since the band’s break-up.
Some musical elements are blatantly regurgitated leftovers of “Danger Days:” the light, power-pop hooks, catchy melodies and a return to the stripped down, no frills rock band.
Whether this blend of sound is mere coincidence is unclear.
The merge echoes fusions like Jade Puget and Davey Havok’s side project Blaqk Audio contaminating AFI’s “Crash Love,” and more recently Julian Casablancas’ electronic synth-pop solo work spilling into the Strokes’ later releases.
Both time signatures and musical themes reverberate previous, been-there-done-that works by Way, resulting in a lulling the listening experience.
“Action Cat” is the culmination of Way’s artistic worlds. Power chords blast the track into a college party set to the backdrop of a Stan Lee comic.
From the playful lines, “We can make it up again / And we don’t care we just pretend,” to the petty, jilted lover’s plea “Do you miss me? Cause I miss you,” the blithe scenes of bad decisions and red cups scattered across Spiderman’s stuffy Queens loft on the upper-east side flood the mind. Iron Man and Ms. Marvel are in the closet, and the beer bong gets passed to She Hulk.
Way’s homage to those who have influenced him are sewn into the seams for a nice touch. “Drugstore Perfume” reeks of The Stone Roses’ shoe gaze. “No Shows” and “Millions” channel the pioneers of Brit-pop like Blur, Oasis, and Pulp. “Juarez” and “Zero Zero” thrash out the heavier sides of the Pixies and early Smashing Pumpkins.
“Hesitant Alien” is nothing stellar. In abandoning the edge that had made him the poster boy of dark alt-rock, Way created a mediocre album, missing his own self-set mark.
Now in his late 30s, Way has wailed his way back into the studio, unable to fill his own shoes.
Casting reputation aside, the album works for what it is.
