My Chemical Romance
The Black Parade
[Limited Edition]
Release date: October 24, 2006

Rating: 9/10

Proving that they’re more than just your average emo/new breed of pop-punk band, My Chemical Romance kicks one through the graveposts with the highly theatrical concept album, The Black Parade.

Partially inspired by medieval mystery/morality plays, My Chemical Romance puts a morbidly modern twist on the Everyman protagonist of the days of yore. The album’s title and first single derives from lead singer and primary lyricist Gerard Way’s belief that when Death comes for an individual, it takes the form of that person’s most vivid subconscious memory. The Black Parade plays off of the concept that part of the human condition and experience is to believe that you are meant for something more in this lifetime. Ultimately, people are often left feeling unsatisfied with the legacy he or she may leave behind. In truth, even the most seemingly uninspiring life is the stuff of which (rock) operas are made of, each one holding moments of greatness, sorrow and happiness even if we don’t see it ourselves as it is experienced. The Black Parade examines this sentiment through the eyes of a character known only as The Patient, a young man who reflects on his life from his deathbed, assuming the mantle of Everyman.

Citing influences of Queen and the Beatles circa Sgt. Pepper-era (in ways well beyond the marching band costumes heavily featured in the album’s interior photos), The Black Parade lives up to the lofty aspirations it has set for itself as both a concept album and as an alter-ego for My Chemical Romance’s next stage of musical evolution.

The songs range from humorously black to downright depressing. Themes of death, war, lost love, regret and ultimate redemption pack the album chock full of misery. The titles of the songs by and large cut to the chase regarding subject matter. “Cancer” uses no flowery metaphors to soften a look at the disease. Easily one of the most outstanding cuts on the album, it is a poignant and jaw-droppingly honest look at the pain and emotion of a stricken young man staring death in the face. On the flipside, the succinctly titled “Dead!” tempers the bleak subject matter with gallows humor, contemplating mortality and laying down a peppy beat while shuffling off the ol’ mortal coil.

Several songs play up The Black Parade ’s very theatrical atmosphere. “Mama,” is an angry letter home from a soldier on a battle field that plays like a Berthold Brecht and Kurt Weill collaboration. Adding to the Broadway ambiance of the track is a cameo vocal appearance by Liza Minelli. (Yes. That Liza Minelli.) “Teenagers” continues the cabaret vibe as a post-Columbine dissertation inspired by Gerard Way’s bout with agoraphobia, proclaiming “teenagers scare the living shit out of me.”

The instrumentation is beautiful and beefy at the same time, elevating My Chemical Romance’s status among the new generation of radio rock acts. Gerard Way’s passionate vocals drive the album and set the stage, but the guitar team of Ray Toro and Frank Iero just may be the disc’s MVPs. Toro plays brilliantly Brian May-tinged riffs throughout, knowing precisely where the song calls for a good crunch or gentle notes coaxed from the fretboard. No slouch himself, Iero adds excellent harmonies and countermelodies on many of the album’s complex tracks. However, the album is completely a group effort, as stated in The Black Parade’s 64-page liner note booklet that comes with the limited edition release. Each band member discusses the production of the album in-depth, giving credit where credit is due for the painstaking additions and improvements to each of the songs and giving an altogether neat look at the top-to-bottom making of an album.

The production is top notch, with Rob Cavallo (who produced Green Day’s American Idiot) at the controls and also at the keys, playing piano on a few of the album’s tracks. Chris Lord-Alge can take credit for the seamless blending of various elements and instruments on The Black Parade, most notably the 167-tracks mixed flawlessly on the album’s impressive title track.

On such a multi-layered effort, it’s hard to point the finger and say who is singularly responsible for such a strong piece of work. The best albums really are the work of a lot of different people laying ego aside to produce a real piece of art.

by Lana Cooper