Eminem drops freestyle rap and gets some shocking reactions.

Eminem’s latest freestyle rap was unleashed at the most recent BET awards, and with a history of anarchism, it’s no surprise it’s aimed at the notorious Donald Trump. The freestyle, accompanied with no music or even beats, starts with the words “there’s a storm coming,” before blasting the 70-something year old president with words that a lot of people have been wanting to say for a long time. Luckily for Eminem, he’s got the social platform to get the message across, and mostly, the rapper has earned a tonne more respect from A-list celebrities such as J-Cole, Ellen Degeneres and Snoop Dogg. It’s a pretty powerful statement, and with Trump previously “concentrating” on NFL players kneeling during a football match, there’s no doubt that he’ll have something to say about one of the biggest names in music attacking him.

But, while the ‘My Name Is’ rapper has politically stood up against the discrimination-driven president, people have decided to look over his message and concentrate on his “music.” Now, I say music in quotation marks because, well, this latest drop was a freestyle. It’s still considered music, but it’s nothing in the mainstream that’s likely to hit platinum level – it’s a statement, and no doubt a statement that will get heard by more than just Eminem fans.

Links all over LADBible, UniLad and all other LAD Facebook pages have been plagued with a thousand so-called fans who have decided that Marshall Mathers should go back to taking drugs and drinking an unhealthy amount of alcohol to make good music again. It’s no surprise that people are saying this because it’s like every other bands and artist that change their music or experiment, these people come out with their pitchforks to dampen the mood and put their two pence where it isn’t really needed. Why? I hear you ask. Why have you specifically taken to blogging to write this? Well, there are multiple reasons. The first being that Eminem, Marshall Mathers or The Real Slim Shady or whatever you call him, has been a huge name in music since his breakthrough early on in his career. He’s been under controversy since his music started making it’s way onto our screens; onto our radios and in our CD collections. The rapper has a lot of influence, and by him using this huge platform that he does have, is likely going to get more of a reaction than some Twitter users. I’m not saying to stop the battle of angry tweets being sent his way, but Eminem should be considered an ally rather than someone who’s just trying to stay relevant. Of course, there are already conspiracies floating around about it being a distraction, but that’s not for me to discuss.


Secondly, the idea that someone should revert back to their reckless behaviours and lifestyle that will ultimately destroy their lives is shallow. It’s actually kind of gross to read. This is a person who has experienced that mad behaviour and unhealthy lifestyle and changed his life for himself and his betterment. It’s kind of scary seeing people encouraging that upon someone, regardless of his celebrity status. In fact, the celebrity status probably makes it a little more dangerous; the celebrity status means that the fans that have considered him role models or who are even currently growing up on his music are going to be conflicted. Musicians can be more than musicians for some people, just like his song ‘Stan’ previously displayed. For the last bit of this point, I’d like to point out that while yes, his music was somewhat better in the early days, but Eminem has experienced a lot of conflict in his life that he’s channelled into his music, and now that he’s growing happy in his personal life, there’s some angst that’s just not there anymore. But he’s still making music, that’s still being loved by people all over the world.

There’s not much really of a third point, but more of a conclusion to this whole situation. I’m a fan of Eminem, although I haven’t followed his musical career very closely over the years. I remember ‘The Way I Am’ being on MTV almost constantly, and the way I loved ‘Stan’ featuring Dido. While I can’t relate to the idea of growing up on Eminem and hearing all these changes and significant lyrical differences, I can understand his influence on thousands, if not millions of people around the world. He’s a musical icon with a combative approach and a massive platform – and for the hundredth time during this post – can bring people together to fight for what they believe in. Approval of a few dozen celebrities that have likely never met is agreeing on something that will inspire people to do the same.



Shattered Youth cover photoNorthampton, yet again, has proven it’s growing scene is only getting stronger as more and more bands start surfacing. This time around, we’re given a five-piece metal band with a message in their upcoming track, ‘Shattered Youth.’ Sequoia Throne is a prime example of quite how catchy metal can be, with the ‘Shattered Youth’ intro gently introducing you into a huge track that’s going to pump you up. The leading guitar, complemented by very rhythmic drumming is almost hypnotizing, persuading and pushing you to keep on listening. Let me tell you this, it’s not an easy track to turn off.

“For all these feelings I hold dear,

you swore to me

that we were meant to be

you lied to me,”

In seconds, the track blows up with aggressive vocals, a quick and thunderous change of tempo. With no warning, the speed of the track accelerates instantly showing that Sequoia Throne is a band made of energy with the vocalisation and musical talent portrayed in their debut single is derived from emotion, originality and overall passion for their music. The ingenuity possessed by the Northampton metalheads are clear each second of the track, with every riff by the guitar and precision picking of a string, bang of the drum and reverberation of the bass cleverly combining to create the perfect layer of instrumental sound, all to be topped with the armoured vocals.

Shattered Youth Single ArtThe appeal of the track doesn’t stop at the sound, though. The lyrics, poetic to the metal mind, are more than just relatable and engaging. They’re hard-hitting, personal and scarily accurate to those who didn’t write the song. It’s a feeling, that whether or not has stayed with you over a period of time, has at one or another fleeted our minds. There is, of course, a sole message behind the lyrics. After speaking briefly with vocalist Phil Walker, confirmed the theory of reflection. The inspiration formulating from former school pressures; from repressing your true self to fit the bill; from feeling vindicated and deprived of hope from those around you. The story behind the track is empowering with positive undertones that really give you a sense of self-entitlement to your own spirits and feelings. While lyrically, the track can be perceived to fit a variety of scenarios, there’s no denying the reflective assertion that it does have.

‘Shattered Youth’ has a brilliant level of depth to the track, with the drums and heavy bassline cooperating hand in hand creating a solid ground for the instruments to stand and grow upon. One of the most appealing aspects to the track is that extraordinary sense of multiple layers – it almost feels visually foggy. It’s a very surreal experience to visualise something through the listening senses. They advertise the genre of metal – but it feels like a very complicated hybrid between old and new. The clean vocals that come into play for the chorus showcase an impressive range kicking in the impulses to sing as loud as you can. The contrast between both clean and aggressive is astonishing, adding intrigue to the mystery. It’s honestly a perfect representation of their wavering abilities of clean, aggressive and down-right gritty metal. It’s an exciting first track to hear from the band, building a lot of expectations for what’s next to come.

You can follow Sequoia Throne on FACEBOOK to keep up to date with releases, but be sure to check out their upcoming track ‘Shattered Youth’ on their YOUTUBE on October 20th!


[INTERVIEW] Blood Like Honey drummer James talks ‘Haunt Me / Love Me’

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Forming in 2015 and releasing their first EP, Haunt Me / Love Me earlier this year, Blood Like Honey are quick to enter the scene and start making a name for themselves. Haunt Me / Love Me is a ferociously made album with a unique sound easily identifiable to their name. “Josh (our singer/guitarist) post an advert on a local bands group on Facebook advertising that him and Harry (the bassist at the time) looking for a drummer for music in the vein of Biffy Clyro and The Xcerts. It really just sounded right down my street, so we all met up and got on really well, and started practising soon afterwards. It was great how it all came together so well.” Since their initial meeting though, Blood Like Honey have been hard at work perfecting their first EP, Haunt Me / Love Me. Opening with 100ml, Haunt Me / Love Me showcase the energy in a catchy, moving beat that stays in your mind. “It [100ml] was actually the first song we ever wrote in the band! The backbone of the track was already written by Josh prior to us practising, but we beefed it up quite a bit since and tried to add a bit more dynamics with the off beats in the verse,” James says. ‘100ml’ is a strong start to the EP, offering a huge introduction to the band and what to expect. While there are a thousand names for genres these days, the best way to describe the opening of Haunt Me / Love Me is the hint that Blood Like Honey really does have the ability to draw inspiration from artists to combine it into a unique sound. There’s a hint that they can play heavier despite their punk, maybe rock ‘n’ roll persona.

“The writing process was pretty casual for this EP, as it was our first recordings so it was gradual. In the early stages, we were just trying to find our sound as a band. It took the best part of a year to fully write, and tweak. We’re so pleased with the outcome though, it has exceeded my expectations quite a bit,” James starts. The five-track EP is beautifully produced, with clear gritty guitar sounds that spits energy and the underlying drums that really adds that attitude. “Our bassist, Tom Joy recorded and produced it all, I remember there were quite a few times in the studio that I was just blown away with how good everything was sounding – it was like a whole new dimension to the songs we’ve become too accustomed to. He’s a studio wizard.” The EP has not only brought the first dreams of Blood Like Honey to life, with bands such as Black Foxxes, Can’t Swim and Tiny Moving Parts influencing drummer James through the production of it. The clear bassline that adds layers, depth and the overall feeling is complemented by cadenced, high-energy drumming; both instruments using each other to really let the songs come alive.

The fourth track, ‘Tim Roth,’ gives us an even further insight to their ability to cope with heavy riffs and aggressive undertones. But, it is quite a misleading song because it gets softer and just takes away what we were all expecting. It’s almost like being teased, but the crescendo of the music really drives out that passion behind the music. One of the interesting things about music is that it can trigger an ancient reward pathway where it encourages dopamine to flood to the striatum – a part of your forebrain that’s activated by addiction, reward and motivation. Music has the ability to do this, and bands – thousands of artists – have achieved this stimulant in their musical careers, but for Blood Like Honey to work on their first EP and still give you that rush of shivers going down your spine, it’s rare. Why you may ask? Well, Blood Like Honey have sat down and worked on their own music without the nitpicking of someone who apparently knows what people want to hear; they produced and recorded the album on their own yet they’ve still come out with undeniably passionate music that strikes emotion and feeling in a very real way. According to James, ‘Tim Roth’ is one of the best songs to garner attention. “It’s probably my favourite for the EP. For a long time, it was the track we would open live shows with and I just really love playing it.”

“There’s an overall theme behind the EP – it’s almost like a concept EP,” James starts. Haunt Me / Love Me is a fluid album, with each songs connecting well without catching you off guard too much. The confidence Blood Like Honey have put into their produced sound shines through, and definitely adds appeal. “We’ve described it as ‘ying against yang’, about finding the positivity within the negative and how that may not be in a harmonious balance.”

“I just feel really proud of it – it’s a huge sounding recording which perfectly embodies what we’re all about.” 

The passion that Blood Like Honey showcases throughout the five-track EP is obvious, with their spirits channelled through instruments and voice. The EP is mastered wonderfully, with each member of Blood Like Honey really contributing vital elements that give the songs a solid body. Not only do the band possess the talent to support the songs musically, but lyrically the songs grow in depth. “‘Melatonin’ for instance is about overcoming a particularly dark time in Josh’s life and it builds up towards the end with the lyrics ‘Haunt Me / Love Me’ which we liked so much that we chose it for the EP name,” James says, “for me, [the album] was a long time coming – I found it so relatable to me personally even though Josh wrote the lyrics about his personal experiences. Like, ‘100ml’ there’s a lyrics ‘Fight back to where I belong, this old shell is getting lonely’ which was literally my experience from living in London and moving back home shortly before joining the band. I’m just really proud of [the EP] – it’s a huge sounding recording which perfectly embodies what we’re all about. I also think of it as laying the foundations, so people can get on board with what we’re doing and just hopefully want to support us throughout our journey, I guess!”

With plans to start their first UK tour early next year, Blood Like Honey has other exciting plans to tour outside of the UK that they’re currently working on. “Also we have our next single down which we’re looking at filming a music video for and launching either later this year, or early next. It’s a big slice of radio rock,” James says. But, despite the band life ultimately being a hectic, go-getting, high-energy lifestyle, Blood Like Honey have more to their music than the collateral rock ‘n’ roll life. “Our ultimate goal [as a band] is to have people connect with our music, we’re all really enjoying recording and playing live together so we’re hoping as the band grows that we’ll reach new fans,” he starts, “I can’t speak for the guys but I know I definitely have a few things I would like to tick off the bucket list, like be played on Radio 1; to play Reading/Leeds and to tour abroad.” With the talent that Blood Like Honey has already showcased, James’ dreams might be easier to reach than initially thought – bands such as Royal Blood, Neck Deep and 30 Seconds To Mars are currently seeing more airtime on the radio, and while Blood Like Honey isn’t necessarily in the same genres as the previously mentioned bands, the work, talent and clear understanding of creating catchy music with hints of diversity and expanding depth and relatability, Blood Like Honey definitely fit the bill to reach a huge potential.

You can follow Blood Like Honey on their FACEBOOK, TWITTER and INSTAGRAM to keep up to date with their upcoming, exciting plans and be sure to follow them on their SPOTIFY and BANDCAMP.




[INTERPRETATION/REVIEW]: Zygmund De Somogyi releases instrumental LP ‘TERMINALS’


We’re heading somewhere different this time around, leaving all of that intensity of guitar riffs and drums behind and focusing on the solo work of High Visions vocalist and guitarist, Zygmund De Somogyi as he explores his piano talents in such a diverse way. It’s easy to label catchy music as masterpieces, but it isn’t until you’ve heard the Van Gogh of instrumentals do you really feel every aspect of the meaning behind masterpiece fits. Terminals is the first produced album that Somogyi has released under his own name, and moreso another view of his diverse talents. First track ‘Sleeping In Airports’ is only the start of changing emotions with every note. It’s a strange feeling to hear music that genuinely feels empowering; not through words, or by the tone of voice but through the notes of a piano with fluctuating tempos changing like a season – slowly, and then all at boi3once.

Based in Leeds, Somogyi is a pianist and composer who draws inspiration from minimalism, contemporary classic works, film and video game OST’s to create an extraordinary experience that really grips the attention of listeners. Somogyi shows a huge amount of passion and dedication for his creative outlets, with influences ranging from Romantic and Impressionist piano composures, mentioning names such as Ludovico Einaudi and the Korean composer Yiruma.  

a0244066058_10Whether or not you have a desired preference of music, Terminals is most certainly something that should be explored and listened to. In Somogyi’s case, his talents are more than in front of a jumping, hectic crowd but also in a place of complete silentium with only his piano to fill each corner of the room with eyes glaring back as they go through the emotions that he does as he plays. It promotes relaxation and enjoyment in the simplest of forms, and in a way, a gentle nudge to forget about how fast the world is moving around you, or the unread messages on your phone and unopened emails you keep promising yourself you’d get back to. ‘Terminals’ feels like a reminder to breathe, and fully enjoy what’s around you; to take in your surroundings and appreciate what’s there.

There are moments, of course, that genuinely tug at the heart. Fourth track, ‘It’s Always Midnight Somewhere’ is one of them, bringing a sort of melancholy along with it. One of the biggest appeals to Terminals is how it literally lets your mind run into its own imagination and experience things that you normally wouldn’t. There’s a thousand different scenarios that your imagination can place your body into, and Terminals allows us to do that through the art of music. And it truly is art, in the purest form.

For me, it has a very winter feel. Snowflakes falling lightly to the ground outside, while you sit next to the window sipping a warm drink as the orange flames of a fire fills the room with the smell of burning wood and light. It’s almost a throwback to earlier times, in which I’ve never experienced, but can imagine myself doing so. At times, there’s moments of placing yourself into a classy bar, waiting for someone to turn up and sip a glass of wine as you discuss life until the early hours. Especially in ‘Raindance’ you can see yourself with a cigarette dangling out of your fingers until you take the long walk home, scuffing your feet through the snow and almost smelling the Christmas spirit in the air, to release that your home is completely empty this year. As I said, tear jerking, right?

Terminals isn’t an album that needs a review, or even much of an introduction. It’s to simply be enjoyed in a moment of sedentary relaxation, where you can close your eyes and be taken to different worlds with the use of your imagination. It’s available on most platforms, including Spotify and Soundcloud, and if you’re a person that’s willing to explore then I highly suggest checking it out. You can share the love with Zygmund De Somogyi by visiting his official site and streaming his music from Spotify or BandCamp



NOSTALGIA: Our Childhood Pop-Punk That Shouldn’t Be Forgotten

red2bjumpsuit2bapparatus2bdo2byou2bfeel2blike2ba2bmanRed Jumpsuit Apparatus – Face Down

This song is literally a reminder for us of our younger years of angst and the yearning for someone to notice us, even if we didn’t really understand the song in it’s entirety. RJA released the song a whopping 11 years ago, and no matter how many times the song surprises us, it’s still a pleasant throwback in which we’re jumping around the room pretending we’re the lead singer singing to our high-school crushes – or is that just me?

tumblr_n0l4ft91my1rk4sq3o1_500From First To Last – Note To Self

Anyone remember Sonny Moore? I mean, Skrillex before he was into wubba-dub-dubbing? It feels like a distant memory, and almost ludicrous to put Sonny Moore and Skrillex into the same sentence, but to truly appreciate the man behind some of the biggest hits, you do have to know where he started. From First To Last was a band that touched upon our diverse genre’s, and appealed to our singing as well as our indulgence of heavy music.

9f6fc126b7ba976824fc25d2caaec49e-300x300x1Escape The Fate – Not Good Enough For The Truth In Cliche

Okay, so Ronnie Radke isn’t as high on the pedastal as he used to be nowadays, being booed off stage in his current project Falling In Reverse. But, if anyone mentions the name Escape The Fate, our mind either bounces to most popular track, ‘Situations’ or the lyrics ”Let’s play a game of russian rooooulette…” 

tumblr_no8njnww3w1urh0vko1_500Neck Deep – Can’t Kick Up The Roots

This isn’t an exactly “old song” in terms of age, but Neck Deep have already matured and changed since the release of Life’s Not Out To Get You that brought them a lot of their fame. ‘Can’t Kick Up The Roots’ might just be the song that brought them that attention that turned them into one of the UK’s biggest pop punk bands, and with the tides now echoing the sound of ‘In Bloom’ instead, their iconic sound found in ‘Can’t Kick Up The Roots’ feels like a distant memory that will spike anyone’s body into movement… and strained necks trying to shout as if they were Ben Barlow.

Fall Out Boy – Grand Theft Autumn

tumblr_lzgcvugw351r8wb5ko1_500This. Song. Right. Here. I really needn’t say too much about it, since it’s just a great song and I’m pretty sure everyone knows it. 2003 Fall Out Boy will live on forever in every punk rock boy and girl!


tumblr_njny7lvajp1tnxjceo1_500My Chemical Romance – I’m Not Okay (I Promise)

Would this list really be complete without some MCR? ‘I’m Not Okay (I Promise)’ is one of the bands biggest songs that threw them into stardom, but today it’s become a classic within the world of pop punk and angst. It’s a song that matches literally any occasion; partying with friends? Go ahead, chuck it on and watch everyone turn into a theatrical actor. Need to let off some steam? Well, trying to hit some of those notes throughout the song is a challenge, and shouting at the top of your lungs is one way to get all that pent up anger out.

giphyAll Time Low – Dear Maria, Count Me In

All Time Low were huge back in the day, with most people openly enjoying their music but nowadays they’ve caused quite the divide. Nevertheless, the band are always grateful to their fans and have consistently risen with each release. ‘Dear Maria, Count Me In’ is what we would all send to our crushes back in the day, pretending that they’re in the crowd while we jump around the room like we were frontman Alex Gaskarth (probably all had the same hairstyle, too!)

c640x360_56Green Day – Basket Case 

Now, we’re really heading back in time when these songs we’re the center of most punk-kids’ playlists. Back in the day when MP3’s were our main source of listening to music on the go and where there wasn’t a screen to set queues or see what you’re evening listening to, (OR you could argue it goes back a tad further to the ages of portable CD players that literally couln’t fit in your pocket.) ‘Basket Case’ was a huge point in most of our generation of pop-punk kids, and in a way helped us realise that no matter how weird things got, we weren’t alone. Good ol’ Billie-Joe Armstrong was like all of our uncles with the crazy stories and good advice!



ROAM Release Music Video For ‘Alive.’

ROAM are inching further and further into being one of the biggest rising pop punk bands in the UK, and with festivals and supporting some of the biggest bands that have been touring, they’re certainly on a rollercoaster ride that’s only going up, my friend. Their latest track, ‘Alive’ is yet another addition to their list of tracks that are pushing them further into the limelight with features in Kerrang!, Rocksound and many other huge named magazines and TV channels. ‘Alive’ is their latest release since ‘Playing Fiction’ which went down like a treat, and these two tracks are building so many expectations and excitement in anticipation for the album release on Friday the 13th of October. But, regardless of the suspicions surrounding that day, the LP is no doubt going to be fire and really bring the band out.

Don’t be fooled by their upbeat pop-punk sound, the video may trigger a few phobias such as spiders, snakes and creepy little girls.

You can follow ROAM on FACEBOOK and TWITTER to keep up to date with their releases. The guys are also kicking off their tour tomorrow in the following dates:

Sept 20 – Cardiff Tramshed
Sept 21 – O2 Academy Oxford
Sept 22 – Norwich UEA
Sept 23 – London O2 Forum Kentish Town
Sept 24 – Portsmouth Pyramids Centre
Sept 27 – O2 ABC Glasgow
Sept 28 – O2 Academy Newcastle
Sept 29 – Manchester Academy
Sept 30 – O2 Aacademy Birmingham
Oct 2 – O2 Academy Leeds
Oct 3 – Nottingham Rock City
Oct 5 – O2 Academy Bristol
Oct 6 – London O2 Forum Kentish Town
Oct 7 – London Camden Electric Ballroom
Oct 8 – London Camden Underworld




16 Years Of My Chemical Romance: The Bullets Era

After the tragic attacks of 9/11, two boys from New Jersey, Gerard Way and Matt Pelissier, discussed the possibilities of starting a band. With Way’s talents in between singing and playing the guitar, Pelissier was a drummer, the guys came together to get in touch with former friends such as Ray Toro, and with the three of them combined, they had nothing to lose but to make music and a difference. Bassist, Mikey Way, was introduced to the band after the brothers (Gerard Way and Mikey Way) attended a Smashing Pumpkins concert. Mikey was instructed to improve his bass skills within the space of a week to fit into the current skill level, and after joining the band suggested the name My Chemical Romance after reading a book titled, Ecstacy: Three Tales Of Chemical Romance by Irvine Welsh.

97e7868758e41edcba3532e43ab3d293--my-chemical-romance-the-ojays“Gerard had a billion great ideas and he was very excited about it all, Mikey had a great record collection but had no idea how to play bass. Ray was the sort of guy you’d find working in a guitar shop – one of those people who’d be a little hard to deal with because he’d be a much better player than anyone else. Otter (Matt Pelissier) was messy though.
The thing was, they had great ideas. Ray had tons of different guitar parts. I asked, ‘How are you going to play those live?’. He just shrugged and went, ‘I’ll just choose between the important parts and the not so important parts’. I thought, if they’re that important, you need to get another guitar player to play them.” – Geoff Rickly

2002 brought the bands’ first album titled ‘I Brought You My Bullets, You Brought Me Your Love,’ and was produced by Thursday’s lead singer, Geoff Rickly. Following a storyline of love and heartbreak, each song on the album followed the various reasons of a couples’ breakdown. The album, picked up by Eyeball Records set the tone for the start of MCR, and with dark influences laced throughout their music, they were different to the brigade of pop punk that spewed rebellion. Stand-out track, ‘Skylines and Turnstiles’ referred to the events of 9/11, in which Way witnessed from afar. The track is emotion captured in such a real and raw away, with lyrics forcing hearts to skip as people recall the terror of the towers collapsing in 2001. With chests being torn open, the band needed one last addition to really make this work, and that was another guitarist. Contacting MCR fanboy, Frank Iero who had been playing in local bands around New Jersey, they offered him the position. At the time, Iero’s favourite band was My Chemical Romance and he was about to be playing alongside them on one of the most spectacular journeys in music. Iero, playing the guitar for Honey, This Mirror Isn’t Big Enough For The Two Of Us, and Early Sunsets Over Monroeville, the album was close to completion.


“I don’t know if we were really ready for it, but we were ready to tour, so that’s what mattered and we were ready to really take on the world.”
Gerard Way – Life On The Murder Scene – 2006

Under the impression of playing in a generic rock ‘n’ roll band, Way grew up in an unsettling and dark neighbourhood of New Jersey, where murder and violence was a threat to residents. Being somewhat of a recluse, Way rarely left the house and indulged his love of horror films that were to later influence on his songwriting. He frequently wrote about topics such as death, suicide, vampires, drugs and being useless in love – and his emotions intertwined with his creativity, MCR brought a unique take to the emo genre.

2ikzib8“We really had no identity, to me at least, every song on that first record sounded very different from the next and I think thats one of my favorite things about our band, there’s not one set style.”
Ray Toro – Life On The Murder Scene – 2006

Bullets is full of angst, giving it an overall anarchist feel as it combines elements from genre’s from post-hardcore and emo. Introduction song, ‘Romance,’ was actually the only song not written by My Chemical Romance, and while the origins of the song is still questionable, it has since been linked as ‘Romance Anonimo,’ (Anonymous Romance) and has been attributed to names such as Antonio Rubira, Francisco Tarrega and Narciso Yepes. Being a drama student during high school, Way’s knowledge of theatrics expanded his influences which really captured the essence of MCR, portraying the albums ideology with an eerie melodic opening. The album bursts open in initial riff for ‘Honey, This Mirror Isn’t Big Enough For The Two Of Us,’ later entering into fan-favoured track throughout of MCR’s career, ‘Our Lady Of Sorrows.’ The latter track had been on rotation in the band’s set right until their split in 2013. A variety of tracks from starting album, Bullets, were among those at their final show at Bamboozle 2012 in New Jersey.


“There were times that Gerard completely ripped himself apart on that record. The second I started recording Gerard’s vocals I turned to his little brother and said, ‘If you stick with this, you’re going to be the biggest band in the world’. I knew from Gerard that they were a band who would have an impact. There was a level of humanity in there that meant people would be able to relate to it. I was amazed by it because I’d never seen that in a person before.” – Geoff Rickly

The very first song to capture my attention on the Bullets album was ‘Vampires Will Never Hurt You,’ and much like the album, this song grows on you. At the first listen, the song can seem long with a lot of things going on, but the raw passion and emotion can be heard in everything since your brain can’t concentrate on just one element of the song. The lyrics that create a meaningful and somewhat inspiring story that has since been interoperated to be yourself among society, or of fitting in with the famous artists around them. Overall, the drops, guitar picking and backing vocals really bring out the element of horror that massively influenced the making of the album. ‘Demolition Lovers’ is another example of Way’s influences of horror and theatre. Taking on a Romeo and Juliet style story of two lovers on the run from their sins and ultimately taking their own lives, Way dedicated the song to a person that’s now assumed to be his then-partner. In the footnotes of the album, the sentence “To K: I’m sorry I wrote all these songs I wrote about killing you. I hope the last song makes up for it,” was written by Way himself.

Previously stated, the album is made of pure and raw emotion, visible throughout Way’s singing. Without any professional help or practise prior to recording, there are parts on Bullets that could be described as out of place and earlier reports of his dental abscesses during this process did affect his singing. But, despite this, what Bullets had captured proved to be monumental as it stuck with the band and their fans throughout their career and to this day. It holds onto some golden material that will continue to be some of MCR’s highlights as their legacy continues.


Written by Owen Jeffreys