My Chemical Romance
Three Cheers for Sweet Revenge

THE REVIEW

The main problem with bands like My Chemical Romance, similar to other bands, is that they are targeted by hordes of teenagers ready to celebrate the first band that comes along. This mimicking provokes the dislikes and hatred of many towards the band. And here, one can only fully agree since seeing the fans they have and the image, the American band wouldn't deserve the slightest interest, but since we're here to judge the music offered primarily, let's focus on this aspect leaving other issues aside, as it would be foolish to judge only by appearance.

Reviewing this "Three Cheers For Sweet Revenge" today is certainly not like doing it as soon as it was released five years ago, since the band then certainly didn't have the visibility and fame (deserved or not) they have now, and here we reconnect to the previous discussion. Musically speaking, this is the second CD of the group following the first "I Brought You Bullets, You Brought Me Love" and preceding the live album "Life On The Murder Scene" and the much-discussed "The Black Parade" with which they practically changed genre by approaching rock. Note how all three works are very different from one another, especially there is a chasm between the first two and the last. While the first mixed speed with dark-gothic elements and incursions into emo-core (with a sound similar to AFI) with songs sometimes marked by a distinct introspective touch, this one streamlines the formula but unlike its predecessor, is a more intense and powerful album in terms of execution speed. In practical terms, the longer and sometimes darker songs that characterized the first album disappear, leaving space only for emotionally-driven hardcore.

Let it be clear that the term hardcore can have a thousand nuances, but here it mainly indicates a rhythmic section with medium-high tempos, while the vocals refer to bands like Silverstein and Funeral For A Friend, with the alternation of Gerard Way's predominantly clean singing to the screaming, a characteristic element of the new emocore. It is perhaps precisely Silverstein the band with which one can find the most points of contact with Way and his associates, at least for this record. Although the MCR stand out for a style definitely more mellow in tones and vocalizations compared to the Canadian counterparts.

The songs are engaging and able to captivate the listener, among the most beautiful are "I'm not okay (I promise)" and "Thank you for the venom," which are also the two singles. Both are fast and characterized by excellent guitar solos. Also very beautiful is the ballad with emo hues (but here we reach a level of expressiveness and genuineness far superior to the simple pop-rock ballads of the successor) "The ghost of you," very melancholic and featuring in the bridge an alternate solo and screams. A truly exceptional song, not only the best of the album but perhaps the most beautiful ever of the New Jersey group.

To songs that, however, we can say are catchy, pieces with a more aggressive matrix that increase the rhythms are complemented. Among these, stand out the concise "Give em' hell kid!" and the particular "You know what they do to guys" which gradually builds up rhythm after a gentle intro, concluding with a thrilling final scream. Emo-core influences are felt instead in "Hang em' high," the most violent song of the batch characterized by occasionally emphasized screaming reminiscent of Silverstein. The piece features Bert McCraken from The Used. However, these pieces are contrasted with others considerably more melodic like the opener "Helena," in my opinion, the only weak point of the platter, "To the end" and a relaxing, at least to a certain extent, "Cemetery drive." The only track that manages to recall the debut album is "The jetset life is gonna kill you" with an organ intro and more decadent and dark atmospheres.

But the true gem of the album is to be found in the track that closes the platter, namely "I never told you what do for a living" which shows who the real My Chemical Romance are. A piece steeped in suffering and hope, cleverly alternating speed and slower arpeggios in line with the choruses, concluding splendidly with a series of lacerating and continuous screams. Finally, there is a bonus track "Bury me in black," also driven by a good dose of nastiness.

"Three Cheers For Sweet Revenge" has a very strong emotional impact that manages to provoke significant sensations and feelings, shaking like few others. An album certainly with a slightly more challenging impact than its successor but that manages to be listened to and fully convinces the intertwining between the various sounds. Additionally, the combo with this work manages to do better than similar bands like Funeral For A Friend, The Used, and Aiden.

An added value to all is given by the splendid voice of Gerard Way, one of the most beautiful of the genre, able to perfectly juggle the various vocal registers and nuances. To this, the good performance of the Iero-Toro duo on guitars is added, churning out riffs at will and surpassing themselves in solos.

This full-length crowns the group as a reality, managing to produce one of the best albums in the emocore field in recent years. Undoubtedly a little gem in its genre. Ultimately, an excellent album that I recommend listening to for removing some prejudice against this band and getting to know its origins.