Married to The Moon: December 2010

Rearing their greasy, multicolored heads, My Chemical Romance has returned to the scene with a sheik new album, four years in the making. Sheik it is indeed, but…perhaps too sheik. When strange (and somewhat spooky) black and white transmissions surfaced depicting figures in giant cat heads, and men in vampire masks all traversing the desert, I knew something was up. However revolting it was, I couldn’t help but be entertained. Leave it to My Chem to be nothing, if not theatrical. The entire hype campaign, displaying a barren but colorful world ruled by sleazy renegades reminded me of a poorly executed 70’s Saturday morning cartoon. Interestingly enough, the album itself fits right in with this mentality. With a straight up blast of rock and roll akin to the sonic punch of The Ramones, Danger Days: The True Lives of the Fabulous Killjoys finds front man, Gerard Way, and company leaving behind all emo stereotypes in favor of old-school punk attitude.

To a certain degree, this change in sound is a welcome change for MCR fans, and it takes two different personas. The first is simply in the ideological attitude of the band. An emerging aspect of My Chem as a band, as admitted to by Way in interviews with Rolling Stone, is the simple fact that they’ve tried to spice it up. Adding color and some “I really don’t care” aura have separated this new project from the anathematic emo-rock of The Black Parade. Kick out the sap, bring in the spunk. On the other hand, the band’s musical production has changed as well. On several tracks of the record, the “stripped down” rock sound clearly accentuates Way’s vocal style and adds dynamic to the melodies. However, for the most part, the entire album’s production buzzes with synths making certain songs a chore to listen to. Thankfully the melodies and lyrics redeem most of this harm.

For those of you who might purchase this album, note that I did get the edited version. All profanity is removed from the songs, (In track #9 the lyrics in the chorus are not actually profane, you just have to listen very closely.) Here’s a song-by-song breakdown.

#1. Look Alive, Sunshine

#2. Na Na Na (Na Na Na Na Na Na Na Na Na)

Being the soundtrack played during the advertising campaign, this song had already gotten my stamp of approval before the album’s release. After a brief introduction from “Dr. Death Defying” Danger Days’ first real song rips open with a killer riff which gets stuck in your head after two or so plays. The up-beat, punk pace is held through the entire song, accompanied by synths in the chorus and a sic tapping solo starting around 2:12 giving the second half of the song that kind of cheezy but epic feel.

Despite my ardent opposition to gang vocals, the immature lyric, from which the song itself draws its title, is well performed and kinda makes the song so stinking catchy, you can’t help but sing along. Way’s vocals are the one thing that hasn’t changed about MCR since The Black Parade. I dance between loving his energetic delivery and cringing at his nasal mutilation of vowels, however he’s spot on pitch (at least in the studio) for this particular number. The lyrics of this song impress me as well. Combining renegade ideas and using words which I don’t hear much on rock records, I get quite excited in the second verse when Way shouts “Shut up and let me see your jazz hands! Remember when you were a mad man? Thought you were batman…” Without a doubt, the album opens with one of the strongest songs MCR has written to date.

#3. Bulletproof Heart

With a quiet intro, and a high octane melody after the first 30 seconds, this song grew on me after about 4 plays. The first truly classic rock sounding cut from the record, the arena ready anthem floats on with lyrics like, “Let's blow a hole in this town, And do our talking with the laser beam. Coming out of this place in a bullet's embrace, then we'll do it again…” A sort of heady song, driven by power chords and synth overdubs, it rattles out of my earphones as an almost (dare I say?) feel good song. The true highlight of this song takes the form of a short but sweet guitar solo starting at 1:59. One of my only complaints with this song is that the bridge from 3:21 to 4:04 seems slightly out of place, almost as if though it was a portion of a different song grafted in to make for a longer track.

#4. Sing

A slower, smoldering number, beginning with an off-kilter drumbeat and an echoing piano line, “Sing” showcases My Chem’s songwriting strengths. The verses, in the absence of guitars, reverberate with an ambiance adding a wide but focused depth, while building drama until the chorus breaks. Possessing, perhaps, the most definable melody on the entire disk, I find myself singing along each time the chorus hits. The final recitation of the chorus seeps passion on the part of Way as he sings, “ Girl, you’ve got to be what tomorrow needs…” The lyrics don’t impress me incredibly, however the solid writing, and smooth delivery make up for this fall in impressive dynamics. Out of all the songs on Danger Days

#5. Planetary (GO!)

Better suited for the spinning turn-tables of an alternative dance club, this song has a distinct disco feel. It is also on this track that the hideous over-production of the album first shows itself. Possessing an over-all “dancy” feel, the song itself begins with a bouncy synth line which slowly grows in intensity throughout the entire song. Quite frankly, this song is boring, and somewhat obnoxious due to the fact that Way practically shouts at the listener through its entirety. The one portion of music which proves itself melodically pleasant is a brief bridge beginning at 2:50 when Way sings, “You keep eternity, give us the radio. Apply the battery; we’re taking back control…” This song merits several listens due to its distinct deviance from My Chem’s rock writing style, but in the end…I’m just not a big fan of party songs.

#6. The Only Hope For Me Is You

Raging out of my speakers in a fashion similar to The Black Parade’s “Famous Last Words”, this song takes rather anthematic lyrics and twists them around a soaring melody. Coming across as a strange conglomeration of U2 (Think Beautiful Day with a minor key), and a destitute Muse, this is perhaps one my favorite songs on the records. I tend to gravitate to this song more than some of the others because of a solid balance between the organic instrumentation (Guitars, Drums, and Bass) and the synth lines. It’s no doubt that this album has a heavy dose of synth, which significantly lightens portions of the album beyond my taste, but whenever the two are placed in conjunction as they are here, it becomes a musical riot.

With an anti-war theme (to a certain degree) the lyrics of this song properly portray the melancholy attitude of the album’s main characters. With lines like, “Covered in ash, covered in glass, covered in all my friends. I still think of the bombs they built…” Way is able to convey a certain sense of desperation, almost as if The Killjoys are longing for an end to the conflict. Building to an emotional peak, the chorus soars with lines like, “If there's a place that I could be then I'd be another memory. Can I be the only hope for you? Because you're the only hope for me. And if we can't find where we belong we’ll have to make it on our own. Face all the pain and take it on because the only hope for me is you alone.” This track stands out as a solid anthem amongst other outrageous, punk numbers.

#7. Jet-Star And The Kobra Kid/Traffic Report

#8. Party Poison

After being told that several of the Killjoys “got themselves ghosted,” not to mention being shouted at in some form of Japanese, listeners are treated to one of the most raucous tracks on the record, crafted in true punk fashion. Not a number I particularly enjoyed on first listen, Party Poison proves to get better with age. This is perhaps the only song on the record, with the exception of its musical counterpart (Vampire Money) to not predominantly feature the utilization of synths, making it one of the outing’s more organic songs. It is also this particular element which accentuates some of the wonderful lead guitar lines thrown down by Ray Toro, especially amidst the opening riff and various portions of the song. “Light up the stage and watch me kick out the jams!” Way shouts half-way through the second verse, demonstrating his true punk spirit, spitting loud-mouth verses in every different fashion. There’s no other manner in which to describe this song then by saying that My Chem sound as if they’re having a good time! “If we were all like you in the end, oh we'd be killing ourselves by sleeping in!”

#9. Save Yourself, I’ll Hold Them Back

This is perhaps my favorite song on the entire record after multiple listens. Uniquely, this song possesses the same perfect marriage between synth and organic instrumentation as previously found on “The Only Hope For Me Is You.” Beginning with a strange chord progression which builds into a full-force rock riff after the first forty seconds, “Save Yourself” emanates a darker and somewhat claustrophobic feel when compared with the rest of the record. This is due in part to Way’s vocal delivery which frantically jumps from higher to lower registers unexpectedly. Channeling such legendary front men like Iggy Pop, and perhaps even a tiny bit of Mick Jagger, the strange emphasis on vowels and flowing lisps found at the end of Way’s phrases fall reinforce My Chem’s position as a classic rock tribute band.

Another interesting element to this particular song is found in its obscure lyrics. Even though Danger Days was not promoted as a “concept album” there is undoubtedly a story contained within the music, (I mean come on the entire promotional campaign was something like the Power Rangers meets 1984-desert world.) “I’ll tell you all how the story ends. Well, the good guys die and the bad guys win! (Who cares?) It ain’t about all the friends you made but the graffiti they write on your grave.” From lyrics such as this, one can only assume that the Killjoys know they are outnumbered and doomed, but at the same time they’ve decided they’re going out in a bang of multicolored glory. This kind of “We’ll die...but not quietly!” attitude is always what My Chem has always excited my immature side with.

#10. S/C/A/R/E/C/R/O/W

I won’t sugarcoat it, from this point on the album just gets weirder. Taking time to slow down, and (maybe?) get some hand waving at live shows, the band crank up the fuzz in production and slow down the speed in an attempt to show the softer side of their punk hearts. As if the Killjoys are crooning their destitute lullaby to a young, sleeping renegade, Way almost whispers his sentiments to the listener. “Blow a kiss at the methane skies. See the walls through your playground eyes. We're all in love tonight. Leave a dream where the fallout lies. Watch it grow where the tearstain dries. To keep you safe tonight…” With the same lyrical wit as a Lewis Carol character, I could see this particular number making an excellent song if performed by some other band such as Children 18:3.

In an attempt to grunge the entire song, a soaring solo is added at 2:53 behind a droning chorus of repetitive admonitions to run. This element however, doesn’t become truly awkward until all melodic instrumentation cuts out, leaving Way semi-rapping over a sleepy drum background. Once the full band joins in again, the song continues in similar fashion eventually fading out with annoying reverbs of high-pitched guitar buzz. I would recommend skipping over this song if you’re not a die-hard MCR fan.

#11. Summertime

Continuing the slower stint, My Chem drops another unexpected bomb with what might be the first real love song they’ve ever written. In fact, if not for the synth melodies at 2:35, the song would have fit nicely on the latest Lifehouse record. For perhaps the first time ever (and certainly the first time on this record) chilled power chords are strummed as a background to slightly-happier-than-melancholy sincerity. With a sweet but serene melody, the song sweeps over the ears as the singer croons to the object of his affection, “You can run away with me, anytime you want…” To completely honest, listening to this song, is the first time I’ve thought of the words like “pleasant” or “sweet” in conjunction with MCR. One of my only complaints is that Way’s voice seems murky in sound, as though it’s been filtered through a synth. This may be the case, simply because of the heavy doctoring found upon the previous track, or it may be in the chilled production.

#12. Destroya

This song just doesn’t make sense. It starts off with repetitive tribal beats, and metallic guitar chunks. All the while, Gerard Way is shouting for mic checks, whistling and…moaning? Upon first listen the entire number comes out as an indulgent shout fest which makes the band seem a bit boorish. However upon several more listens there is a bit of melody to salvage the track. This saving grace can be found in the instrumentation. Thanks to Ray Toro, the guitars lead MCR’s sonic punch as strongly on any other songs. However, the eclectic nature of Way’s vocal delivery and raucous lyrics takes a form, somewhat beyond my tastes for punk aggression. “Don't believe what they say. We're dead flies in the summer time. They leave us all behind with duck tape scars on my honey. They don't like who you are. You won’t like where we'll go. Brother, protect me now with blood they wash in the money…” See what I mean? It’s just strange…

#13. The Kids From Yesterday

Everything about this number is straight up, 80’s anthem, synth buzzing, cheezy, pre-programmed drum machine tracks, you catch my drift. Fortunately for listeners, it works as a song. Unfortunately for MCR, it stands as a weak closer to their post-apocalyptic 2019 world. The Killjoy’s universe closes in blast of studio bubblegum, casting an anti-climactic feel over the rest of the record. I will admit that Way wrote a good melody to accompany his closing statements, but the song’s message is truly nothing more than a doctored segue-way into the ultimate meaning of the album’s final track. “All the cameras watch the accidents and stars you hate. They only care if you can bleed. Does the television make you feel the pills you ate? Or every person that you need to be. Cause you wanna live forever in the lights you make. When we were young we used to say that you only hear the music when your heart begins to break. Now we are the kids from yesterday.” MCR’s raging hatred of modern rock’s cliché’s are apparent in this entire record, however the listener can better understand this by by-passing this song and paying full attention to what comes next.

#14. Goodnite, Dr. Death

#15. Vampire Money

What do we hear at the very end of My Chemical Romance’s first album in four years? Is that…the national anthem??? Yeah, I’ll admit this whole outing has been a bit strange, even for MCR, but the album wraps up with a bombshell of a song, which seems to fit outside of the Killjoys world as developed throughout the record. Beginning with a band introduction, one can almost imagine the smoke-filled venue and dancing fans watching their favorite vagabonds groove around on stage. This is without a doubt the most organic song on the entire record; I don’t think I hear one shred of synth on the entire number. The classic punk buzz is what makes this song so strong in of itself, and while the fast delivery makes most of the lyrics hard to distinguish upon first listen, it certainly has massive growing potential. Way once again channels Mick Jagger in his vocal, basically chewing up each word before spitting it up. With random shouts he assures the listener of his semi-drunk sentiments (Oh, you look like someone I used to love.) Beginning at 1:55, Ray rips out the longest, and certainly the most energetic guitar solo of the entire record lasting a full 27 seconds.

Written, supposedly, after being asked to appear on the Twilight soundtrack, the entire song bleeds contempt for fame and rock clichés. “When you wanna be a movie star, play the game and take band real far. Play it right and drive a Volvo car. Pick a fight at an airport bar. The kids don't care if you're all right honey. Pills don't help but it sure it's funny. Gimmie gimmie some of that vampire money!” Sounds to me as though Way is basically calling out celebrities in general, all the while attempting to put the proverbial final nail in popularity’s coffin. Regardless of what he’s trying to say, he really picked a fantastic song to end the entire record on. Spot on gentlemen.

Overall, this album has not impressed me as a whole, however it has growing potential. I’m slightly disappointed because of the band’s sound change. However, at the same time, I cannot help but acknowledge that The Black Parade is, in fact, dead. Viva la rock revolution that is now MCR! Give it some time, and perhaps in 3 months I’ll look at you and say “Dude…this rocks! Have you heard it yet?”

Favorite Song: Save Yourself, I’ll Hold Them Back

Favorite Lyrics: “Make no apologies. It's death or victory. On my authority, crash and burn, young and loaded. Drop like a bullet shell. Dress like a sleeper cell. I'd rather go to hell, than be in purgatory. Cut my hair, gag and bore me. Pull this pin, let this world explode!” – From Na Na Na (Na Na Na Na Na Na Na Na Na)

To Download: “Na Na Na (Na Na Na Na Na Na Na Na Na)”, “Sing”, “The Only Hope For Me Is You”, “Save Yourself, I’ll Hold Them Back”, “Summertime”, “Vampire Money”

"I get so distracted by some people's reactions that I don't see my own faults for what they are. At times it's so self destructive, with no intent or motive, but behind this emotion, there lies a sensible heart..."

Married to The Moon

Friday, December 31, 2010

Here's to hoping...

Friday, December 24, 2010

My favorite Christmas story...

Thursday, December 23, 2010

No longer the lost, no longer the same...

Tuesday, December 21, 2010

Can you cope when it runs right through you?

Thursday, December 16, 2010

A tip to get my mind a better home for the winter...

Saturday, December 11, 2010

The future is bulletproof, the aftermath is secondary!

Tuesday, December 7, 2010

Bow down, the sinners have the floor...

Saturday, December 4, 2010

Logs on the fire, fill me with desire...

Thursday, December 2, 2010

I got the concept and came to the conclusion...

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