Killjoys, listen up! Here's what we learned from hearing the new My Chemical Romance album 'Danger Days: The True Lives Of The Fabulous Killjoys'. Fans and haters alike, come and see what they've created...
Posted Wednesday, 29 September 2010 by Ben Patashnik
I sat down and listened to the My Chemical Romance album this morning. And this is what I learned…
1. This isn’t the stripped-back garage rock album they initially said they wanted to make…
By now ‘Na Na Na’ has slammed its way around the internet like everyone knew it would, and Gerard Way’s pre-release chat about how thrashy and punky the record was going to be appears to have been borne out… except it hasn’t. Yeah, the aforementioned tune (which is the album’s opening track proper), ‘Party Poison’, Save Yourself, I’ll Hold Them Back’ and ‘DESTROYA’ all sound like some hyperspace version of The Stooges, especially with Way’s none-more-snotty vocals and Ray Toro’s squealing guitar pockmarking everything, but the overall pace of the album is slower than some might have anticipated. Is that a bad thing? Metamorphosing from stadium-bound pomp-rockers directly into speed-punk thrash bastards would have been a step too far and could, arguably, have felt like they were shedding their skin without any coherent rhyme or reason, but the way they’ve used everything they learned on ‘The Black Parade’ and tightened up in certain places feels natural and confident.
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Posted Wednesday, 29 September 2010 by Ben Patashnik
I sat down and listened to the My Chemical Romance album this morning. And this is what I learned…
1. This isn’t the stripped-back garage rock album they initially said they wanted to make…
By now ‘Na Na Na’ has slammed its way around the internet like everyone knew it would, and Gerard Way’s pre-release chat about how thrashy and punky the record was going to be appears to have been borne out… except it hasn’t. Yeah, the aforementioned tune (which is the album’s opening track proper), ‘Party Poison’, Save Yourself, I’ll Hold Them Back’ and ‘DESTROYA’ all sound like some hyperspace version of The Stooges, especially with Way’s none-more-snotty vocals and Ray Toro’s squealing guitar pockmarking everything, but the overall pace of the album is slower than some might have anticipated. Is that a bad thing? Metamorphosing from stadium-bound pomp-rockers directly into speed-punk thrash bastards would have been a step too far and could, arguably, have felt like they were shedding their skin without any coherent rhyme or reason, but the way they’ve used everything they learned on ‘The Black Parade’ and tightened up in certain places feels natural and confident.
( Read more... )
Source
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