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Fall Out Boy - Nobody Puts Baby In The Corner

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My Chemical Romance – I Brought You My Bullets, You Brought Me Your Love: album review

Year: 2002

Label: Eyeball Records

Genre: Post-hardcore, emo, punk-rock, pop-punk

Members: Gerard Way (vocals), Ray Toro (guitar), Mikey Way (bass guitar), Matt Pelissier (drums), Frank Iero (additional guitars)

Producer: Geoff Rickly

Listen to it here: [x]

Join me in this beautiful journey of cathartic destruction where two lovers are doomed to meet and die in every lifetime.

You must keep your soul...

History

I don't think American rock band My Chemical Romance need any introduction, but for the sake of the review, I have to start from the beginning.

Hailing from New Jersey, the band was founded by Gerard Way in September 2001 after he witnessed the Twin Towers attack on his way to work. They are considered one of the most influential rock groups of the 2000s and a major act in the pop-punk and emo genres, despite the band rejecting the latter label. The name of the band was suggested by Mikey, Gerard's younger brother, who was working in a Barnes & Noble when he was struck by the title of a book by Irvine Welsh named Ecstasy: Three Tales of Chemical Romance.

I Brought You My Bullets, You Brought Me Your Love (Bullets for short) is their debut album, produced by Thursday vocalist Geoff Rickly. Despite being sold under the alternative rock genres, it is considered an emo album with strong influences from punk rock, hardcore punk and heavy metal.

The graphic impact

The album cover, as well as the disc, features Harry Houdini hanging upside down in a straitjacket. Gerard Way has stated that it is not a digital image, but was in fact made with some watercolor, some borax, some plastic wrap, and a color photocopier in the Eyeball Records offices.

Why put Houdini on the cover? All references to Houdini in the following albums aside, it's clear that Gerard admired the magician and saw in one of his most famous tricks – escaping from a straitjacket while dangling from a crane – a possible analogy for life: you can spend a whole lot of time in your life ‘escaping’ death, but it will still come eventually.

Autumn color palette, play of light and handmade special effects: aesthetically speaking, the album cover is very interesting to look at.

The tunes

Bullets starts off with Romance, an acoustic cover of an instrumental piece known as “Romance Anónimo,” “Romance d'Amour,” or “Spanish Romance,” composed by an unknown nineteenth-century musician. The sweet and melancholic melody lulls you into a (false) sense of security.

Honey, This Mirror Isn't Big Enough for the Two of Us kicks off with a tits-blowing metal-core guitar riff, hitting you hard and fast, setting the real tone for the entire album. A very young Gerard yells the frustrated lyrics about a toxic relationship which, given the title's theme of the mirror, may be with an ex as well as drugs and/or alcohol. The chorus is an anthem for those who are sick and tired of their partner's (or the personification of drug abuse) manipulation tactics, and the way Gerard screams his lungs out makes it cathartic for those who haven't any words left in them anymore.

“This song is about sucking dick for cocaine.” – Gerard Way introducing the song in concert

Vampires Will Never Hurt You catapults you into another dimension, a darker, more eerie one, brought mostly by the intriguing bass line and the backwards whispering in the intro. The lyrics are the last rational, yet desperate, words of a man who's about to transform into a vampire against his will, and begs his lover to “put a spike in [his] heart” as soon as the sun goes down and to go hide before they'll get her too.

Drowning Lessons starts off with a bittersweet riff, introducing us to probably the saddest story told in the album. Drowning Lessons talks about a man who killed his spouse. My personal interpretation (I don't know if someone else had this idea before me) is that he killed himself shortly after and this is his otherworldly punishment: reliving this day over and over for eternity, perpetuating the cycle of insanity and guilt. The ending leaves you with a feeling of waiting and suspension, the fade-out suggests that the narrator is stuck in this loop and it will be like this forever.

In the fast paced Our Lady of Sorrows Gerard encourages his interlocutor to strip away their insecurities and live freely, to trust and believe in him so that they may be saved. The song is painted with religious imagery (hence the title), and implies that the narrator and the person he's speaking with are constantly at each other's throats: letting go of their doubts is the only way to end this before they murder each other. Gerard is angry, almost arrogant, but it's an arrogance driven by desperation since he doesn't want to lose his friend/lover over their insecurities, inviting and insisting that they “take [his] fucking hand and never be afraid again”.

Musically speaking, Headfirst for Halos is a sucker punch in the teeth, and yes, that is a compliment. The guitar is very Iron Maiden-esque, especially in the intro, and on a technical level, this song proves that these guys know what they're doing. The lyrics' grim undertones go in complete contrast with the upbeat tone of the music, turning it into a suicidal anthem. Despite the fact that it discusses how the narrator is stuffing himself with psychotropic drugs that make him numb to any kind of feeling, as well as his struggle against the idea of killing himself in this spiral of madness, Headfirst for Halos could be considered a powerful message of hope. This song, in my opinion, is not only about someone who succumbs to a psychotic episode, but it's also a way for the lyricist to remind us not to give up, not to do what the song proposes. Its end, where the protagonist probably commits suicide while repeating himself to “think happy thoughts”, is cathartic and destructive, truly beautiful in its tragedy.

"This song is about suicide - don't do it." – Gerard Way

I don't think I'll ever be ready to talk about Skylines and Turnstiles, but I'll try to give it justice. The track, the first one that was recorded while making the album, is a moving tribute to the victims of 9/11. It describes both the last moments of those people's lives and the experience, the feelings that Gerard had while witnessing it. The previous track's message of hope is reinforced in Skylines: when Gerard witnessed the tragedy, he knew he had to do something in hope to help people go through their grief and sadness and make the world a brighter place, giving them a reason to keep fighting. The song starts with “You're not in this alone”: Gerard is offering friendship for those who were hurt or scarred from 9/11, and it could also work in a broader sense, where he reaches his hand out to those who are feeling like this life isn't worth living anymore.

Inspired by Dawn of the Dead, Early Sunsets over Monroeville begins with a sweet and romantic melody, painting a dream-like picture of two lovers living a perfect life, “just like upon the screen”. The song, after that, takes a left turn that gives me shivers to this day just like the first time I heard it. The lyrics are a desperate call for help from the man who has to kill his lover, because she has been bitten by a zombie and is turning into one. He doesn't have the heart to shoot her, but on the other hand, it would be a mercy killing. The whole theme of the zombies could also be a metaphor for the couple's relationship that has gone awry, so the narrator has to “shoot” and hurt her by telling her that there's no love anymore between them. Gerard's voice, in the early stages of the song, is filled with nostalgia and melancholy, making the second part even more striking and emotional to listen to. His cries become more and more insistent, in a crescendo of desperation, and the fact that he repeats the same lines over and over only accentuates the interior dilemma he's having, while the melody becomes more and more fast-paced as well. The last line hangs in the air, which, again, marks the horror of the whole situation, leaving you in a state of suspended turmoil.

This is the Best Day Ever tells a story of a couple who meet in the emergency room, likely after they both attempted suicide, and they plan to escape the hospital together. It doesn't matter to them if they'll die after: they'll be free either way by doing it. What stands out the most is the upbeat and fast-paced melody, which accentuates the anticipation of the protagonists and their hope to get out of the situation they're in.

Cubicles tells a story of a shy and lonely office worker who falls in love with a woman who works two cubicles away from him but doesn't even realize he exists. He spends the time writing her love notes, but never gains the courage to give her the letters, let alone talk to her, until she quits her job and he misses his chance. From that point, he spirals into madness and is terrified he'll die alone, as portrayed by the repetition of the verse “sometimes I think I'll die alone”, which changes into just “I think I'd love to die alone” at the very end, coming to terms with his suicidal thoughts.

I think there's no better way to end this album, other than with Demolition Lovers. The song starts with a slow, sweet yet dark melody, while Gerard begins singing the beautiful, tragic story about a Bonnie and Clyde-esque couple, who run in the desert and eventually get shot by the people they were escaping from. As the music grows more intense, the man tells us how he isn't afraid to die for his lover and he is willing to prove how much she means to him despite their relationship being flawed. They die in a pool of blood, when they kiss for the last time. Demolition Lovers is masterfully made, with one of the most beautiful solos I've ever heard and with lyrics that are an arrow to the heart, not only for the passion they're sang with, but also for the meaning they carry. The ending is simply breathtaking.

Conclusion

Words can't even describe how much this album means to me. The themes, the arrangements, the messages of hope derived from destruction and tragedy, the whole meaning of the band itself... it's just beautiful. The genre is not cohesive but since it's their first artistic effort, it makes sense that they had yet to find their own style: after all, creation is just experimentation. But despite Bullets not being coherent in style, the atmosphere remains consistent thanks to the lyrics that have all the same feeling of catharsis in romantic destruction. I just wish that some songs were mixed better (but if anything that adds to their charm) and that it would last longer. Also it's worth mentioning how all the songs are connected without being connected at all (just how they are connected to their next album, which we'll check out next time), which makes me love the mind behind them even more, if possible.

Final, very personal and unprofessional score: ★ ★ ★ ★ ☆

...like a secret in your throat.

[aleximustpl4y]

Frank Iero - 2.5 mg Just Ain't Enough for Me

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58 – Diet for a New America: album review

Year: 2000

Label: Americoma Records

Genre: "a mixture of glam, hip hop, rock, pop, funk and a car crash."

Members: Nikki Sixx (bass guitar), Steve Gibb (guitar), Bucket Baker (drums), Dave Darling (guitar, vocals, producer)

Listen to it here: [x]

They say that in order to make good art, you have to go through some shit. But is this Nikki Sixx and Dave Darling's, fathers of this side project, case?

I don't know why, I'm here but I can't stay...

History

58 was a side project of Mötley Crüe's Nikki Sixx and producer Dave Darling, Nikki's ex father-in-law. The name of the band comes from the fact that they were both born in 1958.

"One day we were sitting around; he had this hip-hop loop up, and I was playing this glamrock riff; and he goes, 'Wow, that's really fucked up. You hear how that sounds together?' I said, 'Yeah, it's horrible, huh?' So we started to roll tape." - Nikki Sixx about the origins of the album.

They continued their casual approach: sometimes they'd flip a coin to decide who was going to play what and they wouldn't even write down the lyrics at some point, completely winging the process.

Sixx expected the casual approach might be part of the album's appeal: "If people like it, they can like it for the music, not because it's being shoved down their throats by a record company."

The graphic impact

The album's cover is pretty impactful at first sight, reminding of weird, dug-out-from-the-deep-web independent horror movies of the time. It was a choice for sure, but it fits to the sometimes dark themes that the songs have. The recurrent theme of the stars and stripes in the booklet, just like the name of the album itself, is clearly a parody and desecration of American patriotism.

My copy of DFANA – it looks like it got dug out of the trash.

The tunes

Diet for a New America begins with Don't Laugh (You Might Be Next), a song that starts out calm and pretty normal for the rock songs standards, but it takes a turn pretty quick: at half of the first verse, where you expect there will be the drop-down of raging guitars, you get hit with this weird, dark, insane dub-step-like base. I don't even know if dub-step is the most accurate term for it, you just have to listen to it. And this is the exact point where you ask: what the hell have I just got myself into?

The lyrics are pretty straightforward: these are the protagonist's thoughts about his struggle with keeping away from hard drugs and his regrets in regards of his actions while chasing the dragon. He's telling us to not laugh at, insult or judge him for his weakness, not at least before taking a good look in the mirror or the people around us: you or everyone around you might be going through worse.

This song and album projects you immediately into another dimension, where everything is sordid, distorted, foggy, raw and uncomfortable. But if you listened to Don't Laugh until the end, there's no turning back: you want to know what's next.

El Paso is just Nikki performing slam poetry over a semi-hip-hop base, a stream of consciousness interrupted sometimes by Dave, who sings the chorus, probably the catchiest part of this album. I remember very clearly how, when I listened to this album the very first time, my phone crashed in the middle of this song. Determined, I ignored the very blatant warning and kept going.

The dial-up internet sound signifies that Piece of Candy has begun. A mess that reminds me of country, mixed with the usual hip-hop base, with dark lyrics about a cam girl who starved herself to death because she was afraid of her stalking fans. I'm sure they're trying to say something about today's society, but I can't find a meaning that goes deeper, other than just being a very fucked up story. The upbeat melody goes in complete contrast with the theme of the lyrics, making you feel bad when singing along in the catchy chorus or the ending.

Shopping Cart Jesus goes even deeper into the madness of synths, catchy chorus and dark or sad lyrics, talking about how the second coming will be in the form of a homeless, mentally ill man who collects shoes in his shopping cart. People around Him treat Him with skepticism, making Him frustrated when trying to preach His word, not being able to figure out why nobody listens to Him, why nobody believes that he is the real son of God. In the last verse, he'll “swallow that bullet”.

...And back to a bastardized country tune with Queer, probably inspired by the novel with the same title, written by William S. Burroughs. Not much there's to say about this track, it talks about this man who has a one night stand with another guy, poking fun at him for having a moment of weakness while being married ("I hope your family understands"). Contrary on what we've seen so far, it's not clear how it ends for the main character, but it's implied that he got an STD. The musical part mixes a sleazy guitar with a distorted hip-hop base, but we're used to it by now, aren't we? But I have to say: the gospel choir is a nice touch. Also, the singer goes full on Anthony Kiedis after the second chours, which, y'know, is kinda fun.

If you're familiar with Lita Ford's song, A Song To Slit Your Wrists By, you might not know that it was originally written by Nikki for his now ex-wife, Donna D'Errico. One day, Nikki found this song in his computer, with no memory of recording it so he “gave” it to Lita. This earlier version of Song to Slit Your Wrists By is a rude, raw and passive-aggressive letter that Nikki wrote for you to dedicate to your ex who treated you like shit. You might feel the lyrics of this one too much if you're not careful.

Stormy has the vibes of a song you'd hear in a dingy club at 3 am when everyone is passed out after a party and you're the only one sober; I dare to say it even resembles of grunge rock a bit. The lyrics are a very sweet dedication to Nikki's daughter, Stormy.

Killing Joke has a funk beat with – I'm not going to lie – confusing lyrics. From what I can understand, whoever wrote them wanted to depict the discomfort and degradation that a lot of American people have to live in and the author's hopelessness for the future. It sounds like a jam session more than anything, with random people who'd just join in for the fun of it.

"A bunch of musicians just came by and played. I don't even know who half of them are." - Nikki Sixx

The somber melody and lyrics of All My Heroes Are Dead paint a picture about the horrors of losing someone in the war. Not much to say: it sounds like a last goodbye to someone who fought and lost. I find similarities to Led Zeppelin's No Quarter in the instrumental section, which, intentional or not, is very fitting.

The cover of Alone Again (Naturally) is a re-visitation in r&b key of Gilbert O'Sullivan's classic. It's a mess, but strangely, it works.

Meanwhile, Who We Are ... It's just a mess of jumbled-up tracks. Yeah, that's the whole 1 minute and 52 song.

Conclusion

I don't really have much left to say about DFANA. It sure was a ride both the first time I listened to it and now. I have to be honest, as much as I consider this for what it is, namely “white men who try to make black people music”, I enjoyed it for its quirkiness and it sure was an attempt to try something new, to experiment, which is something I always appreciate. Don't get me wrong, it's trash, but it has that charm y'know? I highly recommend it, but only when you're going through something, just like Nikki was surely going through something while making this insanity happen.

All in all, I still look back at this album with fondness, and I don't regret spending like 4 bucks for the CD.

Final, very personal and unprofessional score: ★ ★ ★ ☆ ☆

…the more things change, the more they stay the strange.

[aleximustpl4y]

@aleximustd13 's music blog. because sometimes you just gotta record yourself screaming with a guitar or make everyone hear your unprofessional opinion about albums

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The Dogs D'Amour - Billy Two Rivers

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Frank Iero - Guilt Tripping

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My Chemical Romance - Desert Song

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My Chemical Romance - I Don't Love You

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Nirvana - Come As You Are

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Hole - Softer, Softest

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My Chemical Romance - Early Sunsets Over Monroeville

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The Dogs d'Amour - More Unchartered Heights of Disgrace

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Mötley Crüe - On With the Show

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SatelliteKid.mp4

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I made yet another terrible cover of Nirvana's Pennyroyal Tea and posted it on the internet, if you listened to it and let me know what you think it'd mean a lot to me 👉👈 (btw if you can sit through all of it you deserve a medal fhffjgk)

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https://youtu.be/8hSSMRMzBQY

Okay so uhhhhh I made a cover of Something in The Way and felt like posting it in the internet, if you went and watched/listened to it and maybe gave me some feedback I'd really appreciate it thank 👉👈👉👈