Interview: My Chemical Romance is for f***ing life!
“Man, this is going to sound weird at first, but you know what I’m talking about. This band is for fucking life… I couldn’t get out if I tried. It’s like a life sentence, and a life sentence isn’t always a bad fucking thing. Because we all get to be in this fucking cell together. You know what I’m saying? For fucking life. Ain’t no way out of this shit now. Ain’t no way fucking back.”
CDM: Ray, you’ve said that the ‘Danger Days: The True Lives Of The Fabulous Killjoys’ album is “more thematic than story-based” – what do you consider to be the main themes of the record?
RAY: For me, one of the main themes is just about freedom and being free, just being that person that you’ve always wanted to be.
CDM: At the beginning of ‘Vampire Money’, you break the ‘fourth wall’ of the Killjoys world by referring to each other with your real names – did you feel like this was an important progression/differentiation from ‘The Black Parade’ where you all completely immersed yourself within the story?
FRANK: Very astute.
GERARD: Yeah, actually. It felt nice to do that. It felt really nice to be able to break that wall and have a song that was almost like the end-credits for us, so you do realise that there are regular people that don’t call themselves by their good names when they’re hanging out. That’s what it was, yeah.
CDM: More than ten years on now from writing the first My Chemical Romance song ‘Skylines and Turnstiles’, which song do you feel best represents this current decade-old incarnation of the band now?
GERARD: What do you guys think?
FRANK: I guess again, going back to ‘The Kids From Yesterday’, I think that does. It’s weird because that song was written at such a cross-roads, not only in our lives as the band, but also our actual private lives, and it ended up being extremely personal. It means a lot of different things to all of us, and it meant something different to me when it was first written, to like a week after it was written. So I think I’d have to say ‘Kids’.
MIKEY WAY: Absolutely, it feels like a time capsule.
CDM: With new albums tending to leak before their official release date, fans often have access to new music at the same time as journalists and can form their own opinions before reading advance reviews and/or interviews. Do you think this has affected modern-day music journalism?
FRANK: Well, I think that a lot of journalists don’t really listen to music before they review it.<laughs> But… ‘music journalism’, those two words put together? It, they, tends not to hold any much more weight anymore. I think there’s very little journalism in it…
GERARD: Yeah, there’s a time-honoured tradition of it, and that part is great, and you find… I guess it’s like anything else, it’s like music, you find the real good people out there that are fighting the good fight and they’re writing like Lester Bangs and stuff, they’re giving a shit, basically. They’re just like finding a great band, it’s rare.
MIKEY: One of the problems now, is that everyone thinks they’re a music journalist, everybody’s opinion is the most important, and everyone is super cynical… instead of just listening… and the way things kind of used to be.
FRANK: Everybody’s a ‘real’ fucking journalist.
CDM: Lastly, do you have a message for your New Zealand fans?
FRANK: Hi, again. I know it’s been a really long time, but we’re so excited to be here and to play for you guys. Your country is beautiful and I hope we get to come here a lot more often, if only you guys weren’t so far away.
MIKEY: Thank you for waiting so long for us to come back!.