AFI — Silver Bleeds The Black Sun...

      AFI has consistently embraced evolution as part of their musical journey. Over the past 33 years, the California band has immersed themselves in various rock subgenres, transitioning from their early hardcore roots in the early ‘90s to a classic punk sound in the 2000s, before diving into emo, alternative, new wave, and beyond in subsequent years. Their unwavering creativity establishes them as a significant presence from their era.

      At the heart of AFI's discography lies a persistent Gothic influence, imbuing their music with a unique melancholy that enhances their appeal. With the release of their twelfth album, ‘Silver Bleeds the Black Sun…’, the four members emerge like bats from a cave, fully realized in their dark aesthetics. Each song resonates with a sense of cobwebs weaving through the melodies, and the rattling of guitar strings amplifies their morbid theatricality. The album pays homage to their Gothic predecessors while boldly reinventing the genre.

      ‘Silver Bleeds…’ kicks off with an energetic acoustic guitar accompanied by Adam Carson’s drumming. Sharp, distant yelps provide a sense of impending danger. In ‘The Bird of Prey,’ Havok's haunting vocals reflect on the passage of time, drawing a parallel to Peter Murphy. ‘Behind the Clock’ serves as their tribute to David Lynch, with Havok positioning himself as one of Lynch’s iconic characters, declaring, “I am Freddy Madison / I’m Betty Elms, Nikki Grace and Susan Blue in glitter hell,” creating a cinematic experience complemented by Jade Puget’s and Hunter Burgan's intertwining chords, reminiscent of the captivating Hollywood Hills.

      ‘Holy Visions’ beckons to echo through a spooky dungeon, with its heavy synths and swirling melodies urging even the most hesitant to dance. Havok reaches out for salvation in his lyrics — “Holy visions while in my left hand / Holding cheap beads / I’m going up and down the rosary” — while hinting that ‘home’ lies buried in an unseen Hell: “When the sun drops out of sight / it leaves me free to flutter reckless.” Despite the song's unfamiliarity, solace can still be found in the shadows.

      As the songs intertwine, the excitement of AFI's versatility is palpable. The resonances of influences from The Cure, Siouxsie and the Banshees, and The Sisters of Mercy echo through each chord and drum beat. Havok’s vocals shapeshift across a spectrum, ranging from soaring melodies to deep growls, whispers to screams. His lyrics remain poetic, infused with existential reflections. “And I’ve long outlived myself,” he laments in the ballad-like ‘Spear of Truth,’ revealing a mature understanding of his own artistic evolution.

      The album’s most poetic moment comes in ‘Ash Speck In A Green Eye,’ showcasing what could be Havok's finest Baudelaire impression. “I’m an ash that burns in beauty’s fire / And I fall upon its fragile knife…. I’m a dying gasp in angel sighs / Like an autumn sky / a heart attack…,” he proclaims, referring to Jeanne Duval, Baudelaire’s tormented muse. The concluding track, ‘NOONEUNDERGROUND’ (likely a nod to AFI’s 2006 album ‘Decemberunderground’), begins quietly before erupting into a thrash-punk whirlwind. It’s a chaotic brilliance that reflects AFI’s hardcore origins—ephemeral yet impactful.

      AFI’s ongoing evolution into elevated artists is exciting, and this new era presents them as both familiar and polished. ‘Silver Bleeds…’ poignantly encapsulates the enduring attraction to the Gothic, embodying the exhilaration of confronting one’s inner demons.

      8/10

      Words: Paulina Subia