When posed the question as to what studio album number 11 means to a band like AFI, bassist Hunter Burgan presciently responds: “Every album is an opportunity to show people a snapshot of our evolution.â And if there was ever a punk rock band unafraid of evolving, its AFI. Theyâve been doing it their whole career.
From the humble beginnings of scrappy two-minute, four-chord punk of the early ’90s where theyâd play in the backyards and dive clubs of the Bay Area, they’ve consistently reimagined themselves with each record. Whether it was the raging melodic hardcore punk of âThe Art of Drowningâ, taking on the emo crown on âSing the Sorrowâ, donning the mascara for âDecemberundergroundâ or dabbling in new wave on 2017âs self-titled release, with each record comes a different approach.
Following the teaser EP, âThe Missing Manâ, in 2018, AFI return with their 11th studio album âBodiesâ, and a whole new batch of motifs. Only a few seconds into âDulceriaâ – a grooving, hip-shaking number which seems to give a subtle, knowing nod to âThe Nephilimâ of years gone by with its walking bassline – and you see this is another in a long line of directions Davey Havok and co. want to pull us in.
There are more dips into electronics and synthesizers with âEscape from Los Angelesâ which harkens back to 1980s new wave luminaries like Depeche Mode. A track of this ilk is where AFI and Blaqk Audio (the synth side-project of Havok and guitarist Jade Puget) effortlessly intertwines.
Among the evolution, there is still room for some stone cold classic AFI; âBegging For Troubleâ is that instant hit that they can effortlessly summon from their songwriting oeuvre, a solid sub-three minute punk/emo yearning track pumped full of delicious licks, timeless lyrics, and even a string section.
One of the more experimental tracks on the record comes in the form of âBack From The Fleshâ, an epic gothic anthem. While grandiose in its theme, there is a something of a relief when itâs followed up by the almost indie-tinged âLooking Tragicâ, in which Havok provides a commentary on the fear culture of todayâs world, âEveryoneâs looking tragic / looking for the new panic / looking for the new panic in anyoneâ.
As âBodiesâ is marked as being the next phase in the bandâs career, there is a sense of needing to pay homage to whatâs gone before. Whether intentional or not, the frenzied breakdown of âOn Your Backâ is reminiscent of the bandâs pre-millennium life. There are also more Blaqk Audio influences on show in âDeath Of The Partyâ, a track which wouldnât seem out of place on a Cold Cave setlist.
In Pugetâs own words closing track âTied To A Treeâ is an âexemplification of the evolution of the band”, and it does demonstrate this belief. Itâs a brooding track which morphs into something more monumental, a haunting acoustic guitar riff balloons into an explosion of sound and takes AFIâs to somewhere they’ve never tread sonically before.
At one point in their career, AFIâs evolution would be one that received backlash from fervent, hardcore fans with a desperate desire for their beloved band to resist changing anything about their sound. The AFI of today is a beast which intrigues and âBodiesâ provides another illustration of how a bandâs evolution is meant to be done.
TOM WALSH