CD Review. This "Revenge" is a dish best served by DBL
Publisher: Reprise
Mon, 24 October 2005
by: Darth Bin Laden
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Members:
Gerard Way β Lead Vocals
Ray Toto β Lead Guitar, Vocals
Mikey Way β Bass Guitar
Frank Iero β Rhythm Guitar
Bob Bryar β Drums
My Chemical Romance came out with a sophomore release called I Brought You My Bullets, You Brought Me Your Love about 2 years ago now. It got them a deal with a major label and everyone cried sell-out. I'm going to use this chance to say that I am so sick of that word. You idiots have no idea. Most of you who cry sell-out are the same people that bitch about the fact that your favourite band doesn't have enough money because nobody knows who they are and they won't come to your city and play a show. The rest are just the girls that are 'in love' with Frank and the Way Bros., and are upset that now more girls are sending crazy-hormona...err.. 'Emo' photos of themselves to try to win them over.
A little history on this album's story. Since this album has a story, it already gets a bonus point from me, because I am a massive fan of any album that is a narrative. Bullets finished with Demolition Lovers, the album's best track. To cut a long story short, it told the story of two lovers. Three Cheers picks up where this left off, but instead of being hopelessly in love, the protagonist now wants his lover dead.
Helena opens the CD, with a rather odd introduction, almost haunting, but it doesn't quite achieve what it sets out to do. Soon, the punk breaks out and the song goes where it wants to. A strong chorus and good work by Ray on lead guitar and harmony keep this song alive. Gerard does what he does well, but at points during this song, it doesn't seem like much, especially during the bridge where the band reverts back to the introductory sound. Weak opening. FYI: This song was written about Gerard and Mikey's grandmother.
Then along comes Give 'em Hell Kid. An absolutely brilliant piece of punk musicianship, as everyone feels at home in this song. The instruments are awesome, as a high south-western piano plays for all of three seconds before Ray goes free-from with the lead riff. Gerard moves into the high, strained vocals that best suit him, and the bridge moves in a rollercoaster fashion. And the chorus is so freaking catchy!!! Its just over 2 minutes of some of the best work on the album. To The End follows and it holds its own, but doesn't take any names like the previous track. Gerard sings a in a somewhat disturbed voice, and the guitars accompany him very fittingly. The drums come in and take the song into its chorus, which again is the strong point of the song. Gerard and Ray tag-team the chorus, with although not as catchy as Give 'em Hell Kid, is cool nonetheless. The instrumental is seems to be short lived, until Ray and Frank kick in with a double hammer-on/pull off solo.
Then the album's most infamous song, You Know What They Do To Guys Like Us In Prison. With lyrics penned on prison rape, it left conservatives scowling, and the public wanting more. For MCR haters, it gave them a reason to bag the band out, and for MCR fans, it gave them a reason to brag. This isn't just a song about prison rape; it is a brilliantly written, disturbingly emotional piece about prison rape. Yes, not only is this song somewhat offensive, but it is also emo. Gerard's vocals are strangely calm and almost perky as he cruises through the first verse while Ray once again shows his wonderful guitaring with catchy licks throughout, and Bryar provides a toe-tapping beat. Gerard eventually breaks into disturbed and twisted vocal patterns, fitting for the song content. The bridge is, quite scarily, a very romanticised sound, and the solo once again sees a double attack by Ray and Frank, although I suspect it is a recording-only situation. The music is inspired, and the lyrics are disturbed, yet excellently penned. Song of the album. Quite possibly a candidate for Punk song of the year.
If you live in Sydney, you know the Space Probe. It was a brilliant ride that featured an incredible drop at a ridiculous speed. It was fun. Don't ever do that on an album though. Don't go from your best song, to a candidate for your worst.
Its not that I'm Not Okay is bad, it just isn't welcome. Like an over-bearing mother. It's a very snotty, old-school punk song, only saved from clichΓ© by a decent second verse, and a emo-stomp instrumental, highlighted by Ray's lead guitar work (once again, this is becoming somewhat of a habit isn't it?). The chorus repeats "I'm not okay" thrice, then "You wear me out." It is catchy, but then again, so is bird flu. Oh by the way, I could have saved you the trouble of reading the commentary on that song by telling you it was a single and the MTV generation loves it. I think that comment alone speaks for itself.
I'm Not Okay and Helena are joined in the singles category by The Ghost Of You. A decent song in its own right and very fitting within the current light of the story (we are involved in a narrative remember? I'm just choosing not to spoil it for you), it also sets a more melodic, haunting sound. Gerard's sombre work and mellow arpeggios highlight the verses, with an emotionally strong chorus. The bridge/instrumental section of the song once again highlights with good solos, as Ray pumps it up on guitar again and Gerard warbles (for lack of better word). It is a very enjoyable section for fans of the band and the genre. An organ-sound at the end adds to the haunting mood, and takes out perhaps the best single release yet, and is a good song in its own right.
 | | One of the photographer's legs was shorter than the other |
The Jetset Life Is Gonna Kill You follows, as an organ link the two songs together (it's about time the songs had some musical linkage, seeing as this IS a narrative album). A fairly standard track, nothing terrible, just nothing overly fantastic. The verses, for once, are catchier than the chorus, perhaps due to a fairly enjoyable drum beat, and many of you will find yourselves tapping along. The bridge is the weakest point of the song, and there is not much solo to be had at all. Maybe Ray got tired during the recording or something.
But you'd think he could wait to be lazy during Interlude. Gerard is singing something, but I've never actually bothered to look at what. Someone (quite possibly Ray) is playing a small riff in the background, but that's about it.
And bang, we are back with a vengeance. Thankyou For The Venom kicks in with an absolutely rock-hard riff, courtesy of our friend Frank Iero. Ray provides a small lick, before Gerard returns to the vocal styling of Give 'em Hell Kid. Guitar is strong throughout, and the whole band sounds comfortable and in place (although you can't really tell with Mikey. He isn't exactly the next Flea or anything). Ray once again backs up Gerard's vocals, and kicks a lot of ass with an excellent solo effort (again! Gosh darnit, this is becoming something of a habit). The Verse is catchy, the chorus is catchy, the guitar is catchy. Thankyou For The Venom is like a cold that seems all too catchy, but it actually doesn't really make you sick at all, and it gets you a couple of days off work/school. That is to say, it's a good thing.
Whistling and guitars open, before Gerard lets out a scream, as Hang 'Em High takes off. Fast catchy punk verses, with a nice drum beat once again, and supported by a very cool chorus. Guitars are once again strong throughout, as Frank keeps the pace, and Ray's solo creates a sense of mayhem throughout the song. Fitting, seeing as the song is finally taking us downhill to the final act of vengeance. Not much else to say really, it's a fairly standard song, but one I enjoy whole-heartedly. Then comes Its Not a Fashion Statement, It's a Deathwish. (I know, there is another word that belongs there, but I'm a good boy and I don't swear on the internet). Remembering that this story actually spawned from Demolition Lovers, Deathwish makes reference to the old song in the lyrics. (Wow, remembering something they did before. Maybe MCR could teach WWE creative a thing or two.) This song isn't terrible, but it isn't fantastic either. It is standard MCR, complete with some cool riffs, nice drumming, and average vocals from Gerard. The guy has the ability to some really cool stuff, yet sometimes just doesn't make the effort.
Like in Cemetery Drive for example. The verses of this song really don't feel like Gerard is trying, nor anyone from the band for that matter. The chorus is a little more MCR than the verses, but really, the band don't feel comfortable in this song at all, and it shows. This song feels forced, at least in I'm Not Okay they seem to be having some fun It isn't even boring because its run-off-the-mill. It's just plain boring.
I Never Told You What I Do For A Living finishes off the CD. It's standard MCR, but a very clean finish to the album. The act is finally carried out, and the story comes to an end. The song is pretty fun, and like before, catchy verse/chorus, good guitar, etc. Standard MCR, it's a shame they didn't do something huge for the finish. Although the last few seconds of the track are absolutely spot-on, lyrically and instrumentally; the story is done.
A bonus track would've been a nice surprise, but hey, 13 tracks isn't a bad effort, considering only 3 of them are worth skipping (I'm Not Okay, Interlude and Cemetery Drive). This album has your standard expectations from a punk band; a couple of brilliant tracks, a lot of songs that are 'typical' and a couple of flops to balance out the universe. MCR stands a little higher than most efforts, because they manage to do pretty well for themselves at only their second release. It isn't a sell-out, it is a good CD. Far from perfect, not quite brilliant, but good is good. Recommended for punk fans looking for an emotional edge, or any Green Day fan that is heading to the concert in December. Do yourself a favour, pick up this CD, as well as Futures and Bleed American by Jimmy Eat World, so you have some idea what is going on before your precious Billie Joe makes it on-stage.
www.mychemicalromance.com
Chat about the gig here on the forums.
Recommended Tracks:
Give βem Hell Kid.
You Know What They Do To Guys Like Us In Prison
Thankyou for the Venom
Hang βem High
by: Darth Bin Laden
Email the Author
More articles by Darth Bin Laden
7 for the CD, +1 for being narrative. Much better than doing push-ups in drag. | |
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