Well, flicking through Youtube, I noticed a sweet performance of AFI doing Malleus Maleficarum that I’d never seen before. THEN I stumbled across this beauty:
The sound quality isn’t amazing, but to see AFI performing like that, before Sing The Sorrow, made my day. And so I had to share. I’m not sure who to credit the video to, but it was uploaded by fatalposition. Show them some love.
xoxo – Ripper
I wouldn’t be lying by saying that this was my most anticipated release this year. I’ve been excited about a lot of records coming out in 2009, but well… none of those were AFI. Which is why I was completely furious when I didn’t receive my pre-ordered CD for at least five days after the release date. Truth be told, I should have gone out and bought it from Rapture, but I wanted that extra bonus disc. It’s not even like I was waiting for the limited edition with lithograph plates which can be bought by you lucky Americans, but still, it’s AFI. I’ve got to have as much as I can get. And I’ve got to be honest, I can’t get enough of Crash Love.
Firstly, I’ve got to give praise to the band themselves. AFI have never sounded this in sync, and it just goes to show that this is the definitive line up. Everything fits so well – Jade and Hunter reach a great balance with Davey’s dramatic-as-usual vocals, and Adam keeps it all going with some awesome beats. With this in mind, I stress that the live show will be pretty spectacular, and you should definitely go and see them if Crash Love piques your interest at all.
Unlike the last three AFI albums, Crash Love has no introduction as such, and while that ‘once upon a time’ feel is lost from this album, Torch Song is just as entrancing and hypnotising as any of those introductory tracks. It’s still telling a story, but it’s more like the opening of a Shakespearean tragedy – we’re in mid conversation and we’re getting straight into the action. Torch Song is most definitely one of the most striking tracks on the album and an excellent one to start with, with its melancholic gang vocals in the chorus, crashing melodies and a typical return to Davey’s metaphorical wonderland. Nice start. There’s the ending though, in It Was Mine, slightly reminiscent of last album’s Endlessly, She Said, due to the epic chorus. Unlike Endlessly, it’s not a heart-wrenching epic all the way through, but the angelic choir in the climax of the song sounds wonderful, fitting Davey’s lyrics just perfectly.
And like the last two AFI albums, virtually every song on Crash Love sounds different. It’s a bit more streamlined than Decemberunderground, but there’s still a lot of variation. A couple of cues are taken from Jade and Davey’s side project Blaqk Audio, and you can hear that most clearly in Beautiful Thieves, with that awesome delayed guitar. My favourite song on the album is End Transmission, a deliciously 80s feeling track about a surreal road trip. I can’t wait to see the theories on the AFI boards about this stuff, really, even if the lyrics can really be determined to be about a particularly messy relationship. Too Shy To Scream struts along with a ballsy drum beat and a self assured cockiness that yes, AFI are just as good as they’ve always been. First single Medicate is catchy as hell, getting me singing along from the second listen and really shows off Jade’s skills with one hell of a solo at the end. AFI have always had a knack for the grandiose, and this is clearly seen on Darling, I Want To Destroy You, a song that could be as easily placed on Sing The Sorrow due to its rising vocals and dark, crushing guitar. The bonus disc is also really interesting, highlighting a few b-sides from Crash Love, Sing The Sorrow and Decemberunderground. It also shows a different side to AFI. For example, Fainting Spells starts as an acoustic ballad, until they totally tear it up with a rocking chorus and some of those frenzied hardcore screams from way back when. However, although some great songs are on this disc, it’s probably not going to intrigue casual AFI fans.
Where variation is a good thing, it’s also this album’s biggest downfall. It still doesn’t feel like a complete record. At least Decemberunderground had a clear beginning and end, whereas Crash Love burns out towards the finish. That’s not to say that the rest of the album isn’t fantastic. In fact, there isn’t a bad song on the album, but they just don’t sound connected. The only real defining factor to bring all the songs together is that this is a rock album. It’s not punk, it’s not horrorpunk, it’s not goth. It’s all of those, swirled together with 80s pop – influences from The Cure and Joy Division are rife throughout, as they have been for the latter part of AFI’s career – and the band have finally started to figured out how to make it work. It’s true, they can’t go back to being the happy-go-lucky punk band they once were, and they don’t need to, because Crash Love is truly great.
4 and a half high fives!
Originally posted by Ripper on 18/09/2009
The truth is, AFI have been my favourite band since I was 10 years old. Ridiculous? Probably. It was when we first got Sky Digital. I turned onto the music channels and hit MTV2, purely by accident. It was there that I witnessed Davey in all his androgynous glory singing ‘Boy Who Destroyed The World’ and I fell in love. Despite discovering new and exciting music all the time, nothing ever struck me as deeply as AFI did. If it weren’t for AFI, I probably wouldn’t be the person I am today.
That’s not to say that I’m one of those kids who’s all ‘OH MY GOD AFI ARE MY LIIIIFEEEE, WITHOUT AFI I WOULD BE DEAD RIGHT NOW’. Quite the contrary; I know barely anything about the band members themselves (I am a casual follower of Hunter on Twitter because he makes many tweets about coffee), I wasn’t thrilled by the latter two albums, I’m still not a DF member and I don’t even know all the words to the songs. I probably suck as a fan. But let’s ignore that fact for now. I appreciate that AFI make damn good music and that’s why I love them.
AFI have a new album coming out next week. It’s called Crash Love. From what songs and previews I’ve heard, it’s a little beefier than Decemberunderground, and that suits me just fine. Ridiculous title aside, I can predict that it’ll probably be my favourite album this year. Maybe. However, in respect to the fact that this will be AFI’s eighth studio album, I’m writing a brief history of the band and what’s so awesome about them. I know that most people who read this zine will be relatively familiar with AFI. But my mum isn’t, so here goes!
Days of the Devilock
(NB: in reference to titles, I’ll go with Davey’s hairstyle at that point, because it changed so damn much).
AFI started out in 1991 as a punk band from Ukiah, California. Nothing much happened for four years, until their first album, Answer That And Stay Fashionable came out in 1995 on Nitro Records, Dexter Holland’s (of Offspring fame) label, with the lineup of Davey (vocals), Geoff (bass), Mark (guitar) and Adam (drums). ATASF is a wonderful punk offering with some of AFI’s most classic tracks on it. My personal favourite, ‘Cereal Wars’, tells of Davey’s quest to go and find cereal and the difficulties of finding the right brand. Seriously. But it’s songs like this that remind me of AFI being fun, unlike their more serious image now. I mean, come on, on the cover, they all dressed like gangsters! Classy gents. The bass in this album is also mental. It’s not as awesome as Hunter’s, but I imagine that Geoff totally shredded his fingers at how fast some of the songs are. Kudos to Davey as well, for singing without taking a breath because he’s going so fast. I’ll let you fill in with your own innuendo here. Seriously though, it’s one of AFI’s catchiest albums, even if almost all the songs stay the same. I don’t think I know an AFI fan that doesn’t know the words to ‘High School Football Hero’ or ‘I Want A Mohawk (But Mom Won’t Let Me Get One)’. If you enjoy hyped up punk with a bit of a comical edge that are heavier than Blink 182 or the Descendents, then this AFI album is perfect for you. It’s well worth the £15 (!) I paid for it from HMV before I discovered internet shopping.
Recommended tracks: Cereal Wars, The Checkered Demon, Rizzo In The Box, High School Football Hero
A year later, when AFI still released albums at a sensible time, Very Proud Of Ya came out, and well, I won’t lie, it sounded exactly the same as ATASF but with much better production and slightly more distinguishable vocals. And that was totally fine by me. Lyrically, the album is somewhat more serious… until ‘Cruise Control’ comes along with the beauty “I don’t wanna fuck you, don’t wanna fuck you, I don’t wanna fuck you… SO FUCK YOU!” All pisstaking aside though, AFI start to touch on isolation, fear, straight edge and love, instead of cereal, school and mohawks, and it works. VPOY is the teen angst album for people who don’t want to admit they have teen angst. VPOY also marks the beginning of AFI’s move towards hardcore (yes, hardcore), with songs like ‘Aspirin Free’ holding a much heavier and angrier sound. Breakdowns weren’t to come for a while, but the structure was in place. And it was good.
Recommended tracks: Crop Tub, This Secret Ninja, Charles Atlas, Cruise Control
Slicked Back In Black
The first lineup changed happened in 1997, and Geoff left, making way for Hunter Burgan, AFI’s current bassist to shake things up a bit. It’s no coincidence that AFI’s sound shifts a lot for next album, Shut Your Mouth And Open Your Eyes. Things sound a bit more minor, Davey’s lyrics start to become confusing and metaphoric, and dammit, there’s gang vocals! SYMAOYE is potentially my second favourite AFI album, for the fact that it takes a far more hardcore feel, and because it begins to form the basis for my favourite period of AFI’s history, which is the beginning of the definitive line up. The addition of Hunter was one of the best decisions AFI could have made, because he brought such a great change to the lineup. Although AFI worked well as a less serious band, it was here that it was obvious that the band were meant for greater things. Anthems For Insubordinates became A Fire Inside, the guitar even became slightly more sophisticated and hard hitting, and backing vocals work properly for the first time. This album also has my second favourite AFI song on it, ‘Let It Be Broke’, which is potentially the greatest break-up-fuck-you I’ve ever heard.
Recommended tracks: Let It Be Broke, A Single Second, The New Patron Saints And Angels, Third Season
In 1999, Black Sails In The Sunset (have you noticed AFI have a propensity for long titles yet?) was released, and well… it was completely different to anything they’d ever done before. Why? Because Jade Puget replaced Mark on guitar, Davey went back to singing unintelligibly again and no lyrics made sense for they were all metaphors now. That’s probably not selling AFI to you, but it really should, because this album was awesome. Jade has to be one of the best guitarists in my eyes because everything just fits so perfectly, and he picks this wonderfully dark tone in every song that completely defines AFI’s later material, from the music to the album artwork. Whilst AFI lingered in this ‘horrorpunk’ period, they created a beautiful atmospheric sound which still resonates with me today. Also, some of the best riffs on an AFI album can be found here – the opening to ‘The Prayer Position’ stills sends shivers down my spine.
Recommended tracks: Malleus Maleficarum, The Prayer Position, God Called In Sick Today, Exsanguination.
This carried on through to the EP’s they released – A Fire Inside and All Hallows. A Fire Inside consisted of mostly covers, including a cover of The Cure’s ‘The Hanging Garden’, indicative of their new sound. The Cure influence can be heard throughout several songs on fifth album, The Art Of Drowning, as Davey takes a definite cue from Smith’s haunting vocals, particularly on ‘Morningstar’ and ‘6 to 8’. The Art Of Drowning is my favourite AFI album, and indeed, my favourite album of all time. It’s impossible to say that it was this album in which AFI truly found their sound, because their sound has varied so much from their humble beginnings to their status as rock stars worldwide, but it was where, I feel, they found perfection. From the energy of true opening track ‘The Lost Souls’, to the magnificently poppy single ‘Days Of The Phoenix’ to slow burning ‘Morningstar’, AFI cover a range of emotions and sounds and they do it all perfectly. There is no bad song on this album, which is going to make it ridiculously difficult to pick my favourites in a moment. It’s a culmination of everything AFI were and could be, mixing hardcore, horror and pop punk all in one. And it’s incredible. Lyrically, this is also AFI’s most impressive album. It’s almost impossible for me to pick any one example, but my favourite comes from the chorus for Wester:
Tonight in the whispers when no one’s around/Nothing can stop us now/Tonight in the whispers where we won’t be found/Nothing can stop us now.
It’s ridiculously simple, but to me, invokes images of a secret wonderland in the shadows, which totally sums up the fantasy feel behind all of AFI’s lyrics from Black Sails onwards. And this album also featured Beetlejuice quotes, so major points for that.
Recommended tracks: Boy Who Destroyed The World, Wester, The Nephilim, The Despair Factor
The Art Of Drowning marked an end to AFI’s career on Nitro Records, and as a result, they released a retrospective of singles and previously vinyl only tracks. Despite owning almost every single song on it, I bought it, and was treated to a few gems such as ‘A Winter’s Tale’ and ‘Rolling Balls’, a delightful little ditty about wanting to become a woman. I would actually recommend this to anyone who didn’t know where to start with AFI, as it’s got a great range of their songs on there from ATASF to The Art Of Drowning so you can really get a feel of what AFI have done and where to go from there.
Danzig Tribute 2.0
AFI moved to Interscope Records after a very successful time on the underground circuit, and released Sing The Sorrow in 2003. STS… well, it’s a total change. As in, it doesn’t sound very much like anything AFI have done ever before. I love it still, but it’s my least favourite AFI album. Any element of punk has slowly dissipated, but the melancholic and dark sounds from the last two albums remain, creating an interesting, if not complete, sound. The really interesting thing about STS is not the music, but the
Clandestine Theories, a concept behind the album which was hinted at within the short film Clandestine, which was brought out on a special edition collector’s album. Which is impossible to find for under £200 on eBay. If you start on ‘Bleed Black’ and pay careful attention to the lyrics (and later the speech in the hidden track), the narrative takes you through birth, life, death and resurrection in a spectacularly eerie fashion. It’s pretty awesome. Either way, the album isn’t a bad one, and much better than most other things that also came out in 2003.
Recommended tracks: Dancing Through Sunday, This Time Imperfect, Synesthesia, This Celluloid Dream
Depeche Mode Called, They Lost Their Keyboardist
Three long years later, AFI came out with Decemberunderground, a far better effort than STS was. It was a lot poppier and a bit more sporadic in its sound, but it showed AFI experimenting with different styles as opposed to staying stagnant, which I really appreciated. They played around with new wave in ‘The Missing Frame’, went back to their hardcore roots in ‘Kill Caustic’ and kind of managed to sound slightly like Green Day to half the world in ‘Miss Murder’. DU just sounds great through loud speakers, and you can understand what Davey’s actually singing again! DU saw AFI just go ‘fuck it’ and throw themselves into a variety of different influences, which resulted in an excellent album. Forthcoming Crash Love also seems to take the same cues as DU did, and should be an excellent album.
Liberace?
So, it’s an exciting new era for AFI. Fourteen years and numerous reinventions later, and the band really seem to have found themselves. Davey, however, can’t find a haircut he truly likes, so I leave you with this – a video of all of his hairstyles to date. Enjoy!