Despite mixed reactions to their previous full length (2009’s ‘Crash Love’), the way in which AFI built excitement around their new album ‘Burials’ has been exciting to watch. The looming video teasers that appeared prior to the unveiling of new material were vague (at best) but seemed to point towards a “darker” sound, and the swaying gloom of ‘I Hope You Suffer’ was enough to successfully reinvigorate fringes of their fanbase that struggled to connect in recent efforts. ’17 Crimes’ followed in a glorious AFI meets Alkaline Trio moment of dark, hooky punk rock, and the bar was set rather high for the album’s release.
‘Burials’ itself is a meaty thirteen tracks long – the band noted in our interview with them that these 13 are the only ones that were taken into the studio  – and kicks off with ‘The Sinking Night’, an introductory movement to ‘I Hope You Suffer’s statement of intent. ‘A Deep Slow Panic’ sees the band taking on their more recently recognisable goth/punk, and it’s here that fans expecting punk rock throughout might get a bit lost. ‘No Resurrection’ sways over four minutes solemnly before the previously mentioned ’17 Crimes’ brings the pace back up and ‘The Conductor’ stomps through towering pop powered industrial AFI. It’s notable that Havok’s “OH” returns here like a prodigal son too (you’ll hear no complaints about that from us) – it’s a song that will be bound to impress live and ends up being a standout track from the release.
The latter half of the album has a few moments – notably the synth inclusions on ‘Wild’ – that will throw listeners off a bit, but with ‘Rewind’. ‘Greater Than 84’ and ‘Anxious’ delivering devastatingly big choruses, the album remains a solid listen throughout. ‘The Face Beneath The Waves’ – a five minute epic from the band to close things down – slopes between soaring, vocal driven choruses, whispering verses and a downright creepy middle section effortlessly, and the album does draw you straight back in for another listen once it’s done.
The first two tracks revealed from the release do end up being the strongest overall, and those hoping AFI would deliver an album full of tracks like ’17 Crimes’ will probably come away disappointed, but there are enough big moments to make it a thrilling listen regardless. After twenty three years fighting the good fight, AFI are still doing things their own way. Havok’s voice remains strong and distinctive in a sea of identikit, characterless vocalists that are fronting far lesser band, and a suitably bolstered live arsenal from ‘Burials’ makes the prospect of headline shows very exciting. AFI are back. In a big way.
TOM AYLOTT