AFI is a band based out of San Francisco, California. "Sing The Sorrow" is their first record on Dreamworks Records and will arguably be considered their most mature record yet.
Time brings change and change is good right? Some would argue that point wouldn't they? The punk rock code of ethics has always stuck to the ethos of "major label=sellout." So take it as no surprise that AFI's latest (and first on Steven Spielberg's Dreamworks Records label) record Sing The Sorrow will no doubt be a kick in the teeth to many of the band's most staunch punk patrons. Many longtime fans will listen to this record and some will probably go to great lengths to find tears in the fabric of its sound. They can look all they want but they won't find a flaw!
"Miseria Cantare (The Beginning)" opens the record with echoing thunder before going into a simple, almost Skinny Puppyesque beat. The odd string samples in the background further complement the sound before Davey Havok's distinctive vocals are dropped into the mix. It's obvious that the band has had their share of Dead Can Dance and Bauhaus records lately. "The Leaving Song Pt II" is slow and brooding while all the while carrying AFI's signature guitar sound and gang-vocal choruses. At this point, it's obvious that AFI has almost completely switched up their straight-ahead, full throttle hardcore punk sound for a new almost gothic, punk approach. They still have their hardcore side, but their melodic side seems to have taken more precedence for them and it seems as if they've finally found a comfortable place in their music where the hooks are sugary sweet while being fierce as hell. Granted, they're not a "goth punk" band and have never claimed the label, but the gothic influences are shining through on this record a lot more than previous ones such as The Art of Drowning and most definitely Very Proud of Ya or Shut Your Mouth and Open Your Eyes.
"Silver and Cold" starts out with an elegant piano riff that echoes through the speakers with its eerie reverberation before the rest of the music comes in and Davey's softly whispered vocals soar over the fray before kicking into a melodic and powerful chorus. "Dancing Through Sunday" provides the records first burst of AFI's more jagged side. They haven't gone completely soft and this song proves it with their signature blend of fast paced drums, buzzbomb guitars and victorious gang vocals. "Girls Not Grey," the record's lead single is well crafted and will no doubt be a new favorite for many radio programmers across the country (that would be the point wouldn't it?). One does wonder about where Davey Havok may be spiritually though when he mentions God's grace and if it can be found during the second verse.
"Death of Seasons," probably the most aggressive song on the record finds Davey screaming over almost industrial drum machine beats before kicking back into the punch of chaos and a straight ahead punk rock assault. "Paper Airplanes (Makeshift Wings)" and "This Celluloid Dream" are the catchiest tracks on the record with the latter's music wrapping around a wonderfully sugary vocal melody while the former could easily be their next radio single with its bright upbeat guitars and harmonies. "The Leaving Song" is a departure from the rest of the record with Davey's vocals being showcased on their own with the aid of a lone guitar echoing softly in the background. "...But Home Is Nowhere" closes the record with an almost manic nervousness with its climatic and triumphant choruses and screams.
It's a given that many of AFI's fans are going to be pleased with the band's new direction while many are going to be eating crow because they were skeptical that the band's sound would be a betrayal on their past work. AFI hasn't abandoned their old sound, rather they've built upon it and only made it better.
B+
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