My Chemical Romance - The Black Parade

Ten years really isn't that long. Sure, a lot has changed in the last decade, but looking back upon it, ten years has come and gone, just like that. We're all here, all breathing, reading these words.

The Black Parade was released ten years ago, however, and it has made enough impact to last several lifetimes. It has since become a quintessential alternative rock album, as well as the crux of My Chemical Romance's discography. This rock opera defined a generation of individuals and inspired even more.

The Black Parade is much different than the band's two former records. We've reviewed I Brought You My Bullets, You Brought Me Your Love and Three Cheers For Sweet Revenge, both albums serving as important precursors to this one. Both shared a narrative, at least partially, about two lovers chased down, one killed and offering his soul up to the devil in the hopes of seeing his lover one more time. They established My Chemical Romance's obsession with death and its resulting intricacies and emotions, which carries forward into The Black Parade, but in a different way.

The Black Parade isn't about cheating death, but rather it's a celebration of it; an acceptance, even. The rock opera follows the final weeks of The Patient and his battles with the realization of his death. The music represents the chaos and the degradation of it all, vividly portrayed through both the lyrics and the instrumentals themselves.

From beginning to end, this record has endless personality. It comes in different tastes and forms throughout the record while staying cohesive. It begins with 'The End.', anthemically and theatrically introducing the record with a folky acoustic guitar as Gerard Way introduces the album on a light note before the big melodic guitars come in to give the record its anthemic edge. Not long after, 'Dead!' kicks in a more upbeat note, the impressive guitar work paired with a funky overtone. A brass section gives the bridge an extra punch as an anthemic guitar solo kicks into bring the song to its sing-a-long ending.

The record hasn't specifically treaded into death yet. The premise of 'The End.' is to live life to your own terms,  not for someone else or by effect. The Patient learns that he has two weeks left to live in the track, and in his denial he tries to combat it by stating that he will live life as he wants to. 'Dead!' follows through on a note with more finality - The Patient thinking of his insecurities he experienced throughout his life.

Things start becoming more real with 'This Is How I Disappear', where the song takes an emotional route and sees The Patient reaching out to his lover, claiming that without her, he is nothing. A sweet sentiment on the surface, but once you then remember he's dying, the tragedy of the situation teally strikes. The song is very emotionally charged, it's immense bridge standing out above the rest of its body. The other song that's utterly heartbreaking is 'Cancer' - everyone's heard this one, so, by effect, everyone's heart has been moved by it. It's impossible to not be affected by the pure agony in Way's voice, whether it be the creaky "Turn away / If you could, get me a drink / Cause my lips are chapped and faded" and or the emotional outburst of "I will not kiss you, because the hardest part of this is leaving you," this song is packed with emotion as The Patient crumbles after learning that it's cancer that's slowly killing him.

Heartbreak, surprisingly, isn't discussed as much as it could be in The Black Parade.  'I Don't Love You' is the other track that delves into that subject, the wholly sweet track seeing The Patient beg his lover to end their relationship before he dies. It's beautifully simple, as well as relatable in the sense that you never want to have to be the one who makes that move. 

The album tackles different aspects of dying, instead of keying in on the love side: there's self-destruction, wishing for a second chance, and reflection. There's only one song that doesn't fall under these categories: 'Mama', which steps away from the story of The Patient and instead follows a soldier at war who knows death is upon him, writing a letter to his mother in hopes of mending his relationship with his mother. The song's creepy, dark funkiness sets the soldier's ill fate, the sad crying of his mother indicating his death at the end of the track.

The want of escaping pain is a common element of death. That's discussed in 'The Sharpest Lives', the iconic guitar intro leading into a powerful song that climaxes at its bridge. The lyrics are just fantastic, describing a patient (not necessarily the story's protagonist) finding solace in self-destructive drinking and partying. The chorus is full of amazing metaphors and lyrics: "Give me a shot to remember / And you can take all the pain away from me / A kiss and I will surrender / The sharpest lives are the deadliest to lead / A light to burn all the empires / So bright the sun is ashamed to rise and be / In love with all of these vampires / So you can leave like the sane abandoned me" is voiced powerfully above the heavy guitars.

The Patient takes time to reflect on his life in a couple songs, too. 'Sleep' sounds soft to start before building into a huge ending, with powerful screams throwing it back to the band's previous records. The Patient reflects on how death is stopping him from achieving the dreams he had. In another track, 'House Of Wolves', The Patient wonders about whether he will be sent to Heaven or to Hell above the groovy, brooding, and confident track, its huge choruses elevating the song to epic heights. On a less serious tone, while reflecting on his teenage years, The Patient feels that teens are mistreated and discriminated against, fitting the rebellious vibe of 'Teenager'. He also reaches the conclusion, amongst all these past realizations, that life really isn't all that much in 'Disenchanted'.

Everything comes together at the song that's the core of the album, and to a greater extent, the core of both the band and the genre. That song is the incredible 'Welcome To The Black Parade', a true masterpiece. There's not a single person who won't immediately recognize the song after the first note from its iconic piano intro begins. The Patient comes closer to death than he does at any other point on the album in this song, reliving his sweetest memory in his mind: him and his father watching a parade. There's just so much about this song that makes death seem like not such a bad thing (when it's inevitable). The intro confidently chants "When I was a young boy / My father took me into the city / To see a marching band..." as The Patient discusses the memory. It becomes an incredibly uplifting track as a result of both the instrumental and Way's vocal delivery. There's so much power and confidence in his voice, it's like he's right there next to you, telling you that "We'll carry on / And though you're dead and gone, believe me / Your memory will carry on." It's a celebration of life as much as it is a song about death. It's truly not easy to qualify or quantify just how powerful this song is. It'll always stick by you when you need it there for you, which is one of the best qualities a song can have.

The album comes to its thrilling conclusion in 'Famous Last Words', the album's most empowering track. It was originally written not for the record, but for Gerard's brother, bassist Mikey Way, who battled depression and anxiety and was about ready to quit everything. Upon hearing this track, he agreed to do what he set out to do: live his dream. That's exactly what The Patient does: persevere. This song is the will to live returning to him, as he will not let his life end in this way. He has dreams to live, people to love, things to experience. 'Famous Last Words' ends the record on an epic note, everything from the powerful, driven beat and the electrifying guitar solo to the immense vocals lifts you up and makes you feel like you can do something. The final chorus chants "I see you lying next to me / With words I thought I'd never speak / Awake and unafraid / Asleep or dead," the final, crushing words. Yes, The Patient does die. His lover is there next to him on his death bed as he says his final words to her, his emotions all coming out. The Patient may leave Earth, but he will always live on in the hearts of everyone he loved - that is the essence of death. You leave, but you will live on to others as long as you light that fire bright when you're alive.

The Black Parade is an album amongst albums. It has casual listening appeal and a heartbreaking story in it that provides a thought provoking experience. In the end of it all, however, it's an album full of songs that can truly mean something to someone. These songs have saved lives and given hope to them. They've inspired millions and will forever be buried within their hearts. That's why we're here, ten years later, after My Chemical Romance has been broken up for three years. They will never die because they lit a fire in fans' hearts that will never fade. Take it from MCR: live life to the fullest so that when you die, you'll always be there besides someone. Light your fire and let it burn.

Favorite Tracks: Welcome To The Black Parade, Famous Last Words, The Sharpest Lives, Cancer

Least Favorite Track: Sleep

Rating: 97 / 100

Trophy Eyes - Chemical Miracles

Australia's rock scene is a force to be reckoned with, but besides its progressive and classic output, nothing much else tends to see the light of day. There are some up and coming contenders who are in the game to steal the limelight - the ones that have gained the most momentum is Trophy Eyes.

The Newcastle outfit has offered up their second record Chemical Miracles, continuing to develop a cross between pop punk and post-hardcore. The sound of the record is a sort of blend between Take This To Your Grave-era Fall Out Boy and the modern indie cries of Modern Baseball. Songs cross between heavy, angry screaming packed with sweaty emotions (see 'Nose Bleed') and sweet and melodic ('Home Is'). Often times, the two sounds blend between verse and chorus, one of them dominating its own part of the track.

It's a pop punk record at its very core, and that alone sprouts several issues, more so by circumstance rather than by result. Pop punk is on an insurrection, the forerunners bearing the flag are Moose Blood (see our review of Blush here), with the bigger bands who carried the genre are releasing their own records. Even with the modern flair on the genre, the newcomers are having trouble keeping it original. Trophy Eyes has a good balance on Chemical Miracles. First track 'Chlorine' has that sweet blend of melodic choruses, screamed verses, and distorted guitars, complete with a stripped down and intimate end.

Balance is essential, and while Chemical Miracles as a whole has it, individual songs don't. There's an identity crisis occurring in nearly every other song. 'Chemical' starts understatedly but becomes bewilderingly angry, with the subtle instrumental carrying on when the screams are done. A more complete example is 'Rain On Me', its angry growls paired with its big guitars leads it to be a strong track, but it struggles with wanting to be angry or melodic - it can't decide. 

The gems on the record do shine out. Among them is 'Breathe You In', the wonderfully executed alternative rock anthem that bursts with sweet yet heavy guitars and nice melodies - a solid but effective alt. rock track. It's not lost or confused like other songs on the record are; it has it's purpose and sets out to fulfill it. Closer track 'Daydreamer' is similar, the quiet intro building up with more emotion as it progresses. Gang vocals, heavy guitars, and sweet belts are what build the song to its closure, taking the album out on a high and emotional ending.

Trophy Eyes have a long way to go before making it big, but Chemical Miracles is a good show that there is potential. The band has a solid grasp on what it tries to accomplish - they just have to solidify what exactly it is that they want to do. After that, they'll be busting out tunes out of thin air.

Favorite Tracks: Breather You In, Daydreamer, Chlorine

Least Favorite Track: Chemical

Rating: 70 / 100

Sum 41 - 13 Voices

Sum 41 were a major part of the pop punk movement of the 2000s. Their edge was boosted by high energy riffs and thoughtful - or sometimes rebellious - lyrics. The band's fate was uncertain following 2013, but their comeback album is here in 2016: 13 Voices.

Perhaps taking time off was a good move, because Sum 41 sounds at the top of their game on the new record. The record feels fresh and new, not quite a reinvention but rather a personal rediscovery. Their purpose is clearer on 13 Voices. Their previous five albums made their statement, but not quite as concisely or effectively as this sixth effort.

You know things aren't quite the same right from the intro. Half of the first track 'A Murder Of Crows' is an epic buildup of electronics and strings, and epic orchestra soon backed by thick, brooding guitars before the meat of the song comes in with the same awesome demeanor, gritty vocals paired with sweet melodies to create an electric atmosphere. Just the mere inclusion of strings is enough to give the band some creative credit here. They return in the intro of 'Breaking The Chain', as well, but don't swell in a cinematic way like the former track. Instead, it's a calmer, more progressive build up from the pretty strings to big guitars.

Their pop punk revolution isn't to be ignored. With acts like Moose Blood on the rise (see our review of their album here), pop punk just may be on the brink of revival. Lead single 'Fake My Own Death' saw the band not being afraid to veer away from the signature sound of the genre. It's a standard song, granted, but its guitar work solidifies it as a solid song for pop punk. 'Goddamn I'm Dead Again' does it better, the clapping leading into thick riffs and pounding drums. The song borders punk and alternative metal in a sort of odd dance, the beat and drive obviously punk with a Green Day influence, but there are some killer, dark guitar solos on it that deviate from the standard.

13 Voices has some evil in it, too. Sometimes it works, and sometimes... well, it kind of sounds like My Chemical Romance. The title track '13 Voices' is essentially an MCR ripoff, right down to the vocal delivery. It's a bit sad considering the song had lots of potential, but just feels ripped out of The Black Parade's playbook. Closing track 'Twisted By Design' also has a My Chem vibe, but in a much more natural way that works in the world of Sum 41. The piano intro is followed by dramatic, empowering vocals as the song slowly builds into a driven, thoughtful ending to the record with fantastic melodies. A perfect ending to the record. 'There Will Be Blood' is another song with a brooding, industrial vibe to it, particularly in the slamming delivery of "We'll take the souls of the little ones / And that might be you" in the choruses.

Through the uncertainty, Sum 41 made it through with flying colors. 13 Voices is the start of something big: a new future for the band. A fresh and imaginative sound is here for the Canadian outfit, and they couldn't get off on a better footing with this comeback album. Here's to a new future.

Favorite Tracks: Twisted By Design, A Murder Of Crows, There Will Be Blood

Least Favorite Track: 13 Voices

Rating: 82 / 100

Moose Blood - Blush

High school is or was the time of our lives. The music of the mid-2000s really defined the teenage scene - no one can forget the infectious pop punk / alternative rock anthems from that era; Fall Out Boy's 'Dance, Dance' and 'Sugar, We're Going Down', We The Kings' 'Check Yes Juliet', and Paramore's 'Misery Business' were only some of the big gems from that time, and even today they define us in that time of our lives.

Some may say pop punk is dead. Moose Blood challenges that statement. Their sound is a combination of today's punk scene and that mid-2000s rock. They're a fresh new blend of two beloved genres, but at the same time, it's just what you expect - and want.

As refreshing a return to this style may be, it's not exactly groundbreaking. It's certainly nostalgic, but by no means anything new. 'Pastel' starts the album and brings the memories flooding back, but once you get past that it's really just an average track. 'Honey' is slightly better, being that relatable love song about a match made in heaven. Much of the album, specifically 'Knuckles' has the sound of Biffy Clyro if they played pop punk. The middle section in a bit boring with how familiar everything sounds...

The problem with this album is that it's something we've heard before. It's nothing new, just a nostalgia trip. It's not a bad album, per se, but once you get past the fact it's a throwback to an important part of your life, it loses its flair. And that's if that era of music was important to you. If you're just listening to a pop punk record, it does get boring towards the center. The last taste or interest is in 'Shimmer', which is a very personal track with a fantastic ending. But other than that, it's a pretty dull, "heard it all before" album.

Moose Blood brings a new hope to this style of pop punk, though. Their sound may not be anything new, but its a gateway for others to follow suit. The doors of pop punk are opening again, and Moose Blood were the ones who dared to push through them. Is a new wave of pop punk coming? The dead has just been brought back alive.

Favorite Tracks: Shimmer, Honey

Least Favorite Track: Cheek

Rating: 70 / 100

Seconds To Stand - 'Burnt'

Boston native pop punk outfit Seconds To Stand has been refreshing the pop punk scene for a couple of years now, and have starting offering up some studio content. The band's latest single is 'Burnt', a fresh sounding taste of pop punk that brings you back to the mid-2000's feel.

The song begins with lo-fi guitar that confidently brings in the signature punk drum beat and distorted guitars. Vocalist James Smith gives a great vocal performance throughout the track, singing positively on a seemingly end-all situation, ending the song with the words, "And I don't know what way I can go / But I know I'm not too far / I'll just hold onto my head and my heart". The verses of the track feature sweet guitar licks from guitarist Ray Brunelle and a driven drum beat as the beat and distortion is taken up a notch for the big choruses, with Chris Weeler handling the low end of the track. Nothing really goes beyond standard powerchords and higher leads as far as guitar goes, but that all plays to the flavor of the genre. The buildup of the bridge adds a nice taste of difference in a song that admittedly doesn't change much throughout, leading strongly into the final blast of energy in the final chorus.

Seconds To Stand is all about being uplifting. Their music makes the most out of the negatives of life, making energetic tracks for people both to scream out to and relate to. The band's single 'Burnt' is a great representation of who they are; a fire that won't stop fighting. The only real complaint you can have with the song is that it sounds like a standard pop punk song - nothing besides it's message really screams innovation or something to keep the band separate from the rest. That being said, who doesn't like a good old fashioned pop punk track?

Rating: 68 / 100

blink-182 - California

Some may have thought it was time for blink-182 to bite the dust when Tom DeLonge left. Many were also, possibly as a consequence of the former, skeptical of Matt Skiba taking his place. The band has released its first material with Skiba at the microphone with the band's seventh album, California, proving that the band still has some life left in them, perhaps revitalized by the introduction of Skiba.

You don't have Blink without energy. Their pop punk and alternative rock flair made them who they were. After all they've been through in recent years and the divided response to 2011's attempts at innovation with Neighborhoods, the end would have seemed nigh for the band. California has breathed a new sense of life and longevity into the band, with the energy and life evident in their music.

The album begins with a quiet intro with 'Cynical' featuring clean guitar and Skiba's first studio contribution, before it kicks into a full-fledged lite punk rocker track, complete with the full short explosions of energy and rawness. To somewhat of a surprise, there aren't many moments like this on the album. The only other punk rock burst of energy found on the album is in the less-than average onslaught of 'The Only Thing That Matters'.

Much of the rest of the album is a more refined and mature alternative rock experience. Lead single 'Bored To Death' feels characteristically like a Blink-182 song. The band found the energy they struggled to keep over the last few records. That's what this album has that past efforts lacked - a sense of integrity. Several tracks feature the feel-good Blink sound, including 'No Future' and 'Teenage Satellites'. The album gives off lots of positive vibes, perfect for the summer and for a good old-fashioned jam.

This album isn't free of risk, though. There are moments in which the band takes an unexpected turn, some for the better, and some for the worse. 'Los Angeles' has a surprisingly dark sound that resolves itself into something with more optimism by its bridge, the end contrasting the beginning in an interesting fashion. There are some slower songs on the record as well, the peaceful 'Home Is Such A Lonely Place'. The band jams huge with rock vibes and big riffs in 'Kings Of The Weekend'. Title track 'California' bears a sense of thankfulness, giving the album an appropriate send off.

Other moments are just questionable. The inclusion of the short interludes such as 'Built This Pool' really throw off the flow of the record. The sing-a-long parts in 'Rabbit Hole' don't lend themselves to taking a weak track to a stronger height. Lyrically, this album has its moments, as well as its grand nosedives. Take the conclusion track, the horrendous 'Brohemian Rhapsody' (be honest, you knew nothing was coming out of this track from the second you read its title). Barring nothing but jarred powerchords and the single, utterly incredible line 'There's something about you I can't quite put my finger in,' this song might as well have dropped a bomb on the end of the record. After 'California' ended it on such a satisfying note, too... Other lyrical masterpieces on the album include 'She had a black shirt / Black shirt / With Bauhaus stuck in her head' from 'She's Out Of Her Mind' and ''We bought a one way ticket so we could go see The Cure and listen to our favorite songs in the parking lot" in 'San Diego'. Those two have melodies that nearly justify the words, but don't let them be completely overlooked. 

California isn't another blink masterpiece. Nor is it a reinvention. It's a new beginning. Matt Skiba has breathed in a new life to the band. The band sounds and feels young again! They're a fresh new force on the field. Blink is here to stay.

Favorite Tracks: California, Los Angeles, Kings Of The Weekend

Least Favorite Tracks: Brohemian Rhapsody, Built This Pool, Rabbit Hole

Rating: 79 / 100