New Iron Maiden Album Cover Pays Tribute To James Franco In “Spring Breakers”

Spring Breakers 9


Iron Maiden set the metal world ablaze this week by releasing the cover art from their soon-to-be-released double album “Book of Souls”. While many fans of the band were impressed with the artwork, some were surprised to learn that Eddie’s new look is based on James Franco’s performance as the drug dealing hooligan known as Alien in Harmony Korine’s 2012 film “Spring Breakers”.

Some die-hard fans of the band were angered by the Maiden’s unwillingness to bring back Derek Riggs to create the new cover. Protests were planned in 12 major American cities on Saturday to bring back Riggs.  However, much of the uproar died down and the protests were cancelled when it was discovered that legendary street artist and 2014 Hipster Hall of Fame honoree Banksy created the new Eddie.

When asked about Eddie’s new crunk-for-2015 look, the band spoke about how the watching “Spring Breakers” launched them in a new creative direction. While the band says many of the tracks are the classic, straight ahead Iron Maiden you would expect, don’t be surprised if you hear a little of what Dave Murray cryptically referred to as “Dem Ruskin Arms Trap Beatz” on the new record. The band has even hinted at collaborating with Yung Jeezy on a crossover song tentatively called “Trap Somewhere in Time”.

There have also been rumors swirling around the Iron Maiden camp that “Book of Souls” is actually a concept album in which a mad scientist fuses Eddie and Alien’s DNA to create a new creature, known as “Crunkenstein”.   The monster goes on a wild rampage through St. Petersburg, Florida during spring break searching for the one thing necessary to his survival, the souls of methheads.  Unable to find any that hadn’t already been sold to Satan, Crunkenstein lays on the beach and spends his last moments alive singing an eleven minute power ballad about the life of Aliester Crowley.


Franco, meanwhile, was unable to be reached for comment. He is currently somewhere in the mountains of Guatemala working on a new book of poems titled “Roses Are Red, Violets Are Blue: Meditations On Things I Was Thinking About While Watching Full House” that is set to be released sometime next year.

, , , , , , ,

  1. #1 by johndockus on June 19, 2015 - 4:07 PM

    Franco is a douchebag, having his hands in everything as if he’s some kind of Renaissance man (when clearly he’s only a narcissistic, somewhat talented actor wandering around acting everywhere in vainglorious camp-style like he stepped off a Time Machine which shuttled him in from Warhol’s Factory, and he has amnesia), but Korine is genuinely unique. I haven’t seen Spring Breakers yet, but I’ve seen Gummo and Julien the Donkey Boy, and love both those movies. I saw “Trash Humpers” too, which fails on one level, but grew on me the more I watched it. Very odd movie, an exploration of the lowest common denominator, which is funny in its way, but like an inside joke. Not everyone will get it. At least Korine takes risks, really pushes what cinema can be. I fear it will happen to Korine what happened to, say, John Waters with more fame and a bigger budget with which to work. Still original, but the edge will gradually be lost and the wild strangeness and maverick outsider sensibility, the dangerous moonshine quality of it, homegrown, will gradually be diluted, assimilated by popular culture and made into yet another brand, and what was truly subversive before, will come off only as flat and blunt and tasteless and nostalgic retrospective pandering to those more dangerous and crazier times captured in the earlier films. In short, the repeating of oneself, caused by the obligations of more money and higher production values killing the true anarchic experimental spirit which takes risks, will settle into a sort of aping self-parody. Self-parody is the death knell of true humor and satire.

    • #2 by Keith Spillett on June 19, 2015 - 6:22 PM

      Korine is brilliant. Loved Spring Breakers. Gummo is magnificent too. Really, I’ve loved everything by him, but Julian Donkey Boy was the hardest to watch a second time. I loved Trash Humpers. I found it really demented and horrifying, but there were 2 or 3 moments of beauty in that film that blew me away. The monologue at the end in particular.

      • #3 by johndockus on June 19, 2015 - 7:01 PM

        You really found Julien Donkey Boy hard to watch the second time around? I kept watching scenes over and over. The schizo monologues are great. I adore Werner Herzog as well, total respect for the man and his experiential approach to art, which clearly has a strong influence on Korine, so just Herzog’s appearance in the film was a catalyst for all kinds of good feelings in me, despite the disturbing scenes.

        Korine is interesting how he sets up shots, what he does to capture spontaneous moments, unrehearsed, using improvisation (maybe drugs too to break through the “have seen it before” and get to that certain something not really seen before). John Cassavetes in his films had a similar approach, especially his early ones, “Shadows”, “Faces”, “Husbands”, “A Woman Under the Influence”, and as a result he captured some extraordinary things on film, having the feel of real life. Those who were given a chance to act in his films must have been exhilarated, because they were allowed to explore through improvisation the furthest bounds of their emotions within characters.

        One could also mention David Lynch and his films. But Korine is more homegrown in his sensibility, more psychedelic trip, unhinged and running wild in alienation, than transcendental unfolding of the lotus flower out of the mud of humanity.

        On another level, Korine shares much in common also with underground metal. As I expressed in my first comment, I fear his creative energy in its wild exploration and anarchic subversiveness will lose that unique atmosphere he creates by being more and more assimilated into popular culture. Look what happened to Metallica, and other bands who move more into the mainstream. The wild animal is put into a cage for others to feel safe around and gawk at, embellished with mannered power moves. Real metal doesn’t make one feel one is in the presence of a caged animal, but of an animal on the loose, which with a mane of fire comes storming into the church.

      • #4 by Keith Spillett on June 19, 2015 - 9:49 PM

        HA!!! If you get me going on Cassavetes, I could talk for hours! I’m a bit sad you didn’t mention my favorite “The Killing of a Chinese Bookie”, but I’ll take any of the ones you’ve mentioned any day of the week. I own Julian and since you’ve framed Korine as relating to Cassavettes AND metal, I’m obliged to go back and watch it again (a task I’ll surely be thanking you for at some point).

  2. #5 by Dario (@NoneOfYourBsnss) on May 18, 2016 - 3:18 PM

    As a Guatemalan, hell I’d buy the album cause of Franco being on my mountains.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

<span>%d</span> bloggers like this: