Ez Luscombe
From Misfits-influenced horror punk on The Art of Drowning and Black Sails In The Sunset, post-hardcore and emo on Sing The Sorrow, and more modern alternative rock production on Burials to mixed acclaim, AFI’s range of influences and experimentation may seem reductive to some, but their latest endeavour into post-punk and gothic rock is keeping the subculture alive and kicking.
Taking clear inspiration from side project Blaqk Audio, (featuring frontman Davey Havok and guitarist/synth master Jade Puget) Silver Bleeds the Black Sun may be Run For Cover records first post-punk and darkwave inspired released among a sea of pop punk and lo-fi emo, but it’s a welcome surprise in AFI’s varied, yet rarely boring discography.
First track ‘The Bird of Prey’ showcases Havok’s macabre, complex, and haunting lyricism which is an effective and stark contrast to the echo-heavy guitars, lush and swirling synth textures, drum patterns akin to Bauhaus’s more dub influenced tracks and this combination truly makes for an enjoyable listen and an exciting introduction of things to come. The references to the late, great David Lynch on lead single ‘Behind The Clock’ is further proof that although AFI are not afraid to mix up their sound and are not afraid of potentially alienating hardcore purists whilst also paying homage to the artists who dabbled in the more macabre side of media before them. The operatic backing vocals on ‘Holy Visions’ and ‘Ash Speck in a Green Eye’ are endearing as they are dramatic and although this particular song wouldn’t sound out of place on The Sisters of Mercy’s hedonistic Floodland album, the bright guitars courtesy of long term member Jade Puget and Adam Carson’s reverb-laden drums modernise the 80s post punk sound without making it sound derivative due to Tony Hoffer’s (M83, Foster The People, Depeche Mode) clean and modern production and mixing.
The dark synth work may be a far cry from their 924 Gilman Street days but their punk spirit and infectious energy still shines through, particularly on faster-paced track ‘Nooneunderground’ where the 808s are reminiscent of both the Shut Your Mouth and Open Your Eyes era of the band, as well as The Cure’s ‘The Hanging Garden’ in Hunter Burgan’s bass parts. However, this obvious nod to their arguably most commercially successful album DecemberUnderground may be one of the weaker additions to Silver Bleeds the Black Sun as the more frantic tone and unrelaxed vocals combined with synth soundscapes amongst an album of gothic beats, melodic vocals and lush guitar work stands out like a sore thumb.
Despite the stark departure from their skate punk sound of the 90s and early 2000s, AFI are still capable of putting out an album that’s enthralling, yet complex enough to grab your attention from just the first listen. Although AFI’s twelfth studio album is musically more post-punk than skate punk, their lyrical content is poetically decedent, and the focus on capturing a soundscape through synths and drum machines is a celebration of the otherworldly nature of the goth subculture. If you miss the big hair and clove cigarettes of the 1980s, then Silver Bleeds the Black Sun might just be the album for you.