When My Chemical Romance released the first Conventional Weapons single -- “Boy”/”Tomorrow’s Money” -- I was surprised to see some positive sentiment for them kicking around Punknews. That didn’t help “Zero Zero,” lead singer Gerard Way’s first solo single, and I doubt most readers on the 'Org would dig his attempts to go all glam-Brit-pop-Bowie on Hesitant Alien. But the follow-up project from MCR rhythm guitarist Frank Iero, Frnkiero & The Cellabration, might be a different story. The band’s ego-stroking name aside, Stomachaches is a pretty solid blast of upbeat pop-punk and emo.

The album kicks off with the basic beat and buzzy riff of “All I Want is Nothing,” a simple little punk song that zips along and burns out in under two minutes, free of the grandiose aspirations that alienated so many people from Iero’s past work. In fact, it would risk coming across anonymous if didn’t feel like so many little hooks were scattered throughout it. And that’s Stomachaches primary success. It doesn’t try to reinvent the spectrum of punk, emo and indie rock in which it exists; it just makes sure to deliver each track with fiery enthusiasm. “Blood Infections,” “Tragician” and “Neverenders” tear along with caffeinated abandon; “Stitches,” “Joyriding” and “Smoke Rings” amp up the thumping rhythms and electronic textures; and for anyone feeling overly sensitive, “Stage 4 Fear of Trying,” “Guilt Tripping” and “She’s the Prettiest girl at the Party, and She Can Prove it with a Solid Right Hook” provide some emo pining so perfect, it will make anyone not feeling the vibe utterly nauseous. I mean that as a compliment.

Back in ’07, Marilyn Mason took some stabs at MCR, Iero in particular, for what he saw as copping his aesthetic. Stomachaches wouldn’t improve that situation, with Iero adopting a blood-soaked persona and a Manson-eque scratchy vocal style. Some of that gothic imagery floating through the album will probably provoke eye rolls, though it also points to why fans of MCR’s Three Cheers heyday might be more interested in this album than anything else the band’s former members have done since. It’s not an exact evocation of that album’s sound -- it’s noticeably short on the massive, metallic guitar riffs. But it’s definitely the closest to Three Cheers’ straightforward, hooky, pop-punk bliss. With the love for acts like Captain, We’re Sinking, Direct Hit! and The Flatliners around here, I’m surprised it’s gone so unnoticed. Definitely worth a spin.