Starting to notice a theme?…

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[5.29]

Scott Mildenhall: “Everyone’s a passenger tonight,” apparently, and that would seem to include My Chemical Romance themselves. Far from what they go on to claim, however, this is no accident, simply another ride on the Gerard Way of life. Thematically typical, sonically unambitious, it’s far from terrible, but probably deserved of its offcut status.
[5]

Alfred Soto: This halfhearted churn would have been glammed up by Kix or Poison in 1988.
[4]

Patrick St. Michel: Even if it seems like a desperate grab at past glory, I’m not going to begrudge My Chemical Romance for rehashing the chorus of “Helena” because “Helena” is the band’s high point, the sort of emotional gut punch you make fun of in front of your friends during lunch period but shout along to on the drive home from school. “Surrender The Night” gets the chorus down; too bad about the unexciting, not-scream worthy verses.
[4]

Brad Shoup: No No No (No No No No No No No No No)
[3]

Daniel Montesinos-Donaghy: “On the freeway of this life/We’re driving on and on, and on, and on”. HELLOAUTO-VEHICULAR METAPHORS! “Surrender the Night” feels like a mid-album piece rather than a single; the weightless verses are practically built for the type of stage-stalking that alleviates lulls in concert. Before the chorus hits, the track sounds like MCR-by-numbers. But the second that chorus hits, guitarists Frank Iero and Ray Toro knock it out of the park — Ierowith the big open crowdsurf-wailing power chords and Toro with the antsy, reverentialpicking that eventually (and thankfully) spills into NWOBHM double-guitar worship. After a gummy start, the band pick up steam — a slew of theatredork Gerard Way’s fire drama into even the dullest words (“wailing!!!”) — but man oh man, we need some stronger verses up in here.
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Ian Mathers: You can already see the Youtube comments (if you want) from the kids talking about how they missed this version of the band, please don’t change, etc etc. I don’t know, I think they can be hit or miss regardless of what they’re trying, but when they’re hitting (“Vampires Will Never Hurt You,” most of the second album, “I Don’t Love You,” that “Na Na Na” song, this) they actually seem pretty unbeatable. There’s a sense of velocity and immensity here that’s hard to argue with.
[8]

Edward Okulicz: Has all the sonic hallmarks of a good My Chemical Romance song without being particularly distinct from any of the songs it always sounds like. My general reaction to this is “More MCR songs that sound like ‘Helena’? Yes please!” and in isolation I’m very happy to listen to it, even as one must concede that it has nearly no reason to exist at all. Nearly, because some of the guitars evoke Queen in a good way (rather than the slightly-try-hardy way of “Welcome to the Black Parade) and Gerard Way’s idiosyncratic way of spitting out (and spitting at) his words is always good for a few surprises, too.
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