My Hallowe'en Romance: Nothing Could Touch Us Then (The Art Of Drowning - AFI)

Member Name: bandcamp

Product:	The Art Of Drowning - AFI
Date:	17/10/07 (202 review reads)
Rating:

Advantages: upbeat punk sound with deep, dark lyrics

Disadvantages: the odd track could be easily forgotten by new listeners

**Alright folks, you know the drill. You'll be getting a blow by blow account, track by track with this album, so no surprises that this will be a bit long. Any intermissions can be decided by YOU, the lovely reader. And this was written entirely under the influence of sobriety, due to the current financial situation (I still haven't gotten around to making an emergency booze stash).**

+ INTRODUCTION (I grant you permission to skip this) +

Along with The Offspring's 'Ixnay On The Hombre' and 'Americana' albums being pivotal in honing my musical tastes as a teenager, there is another band and album that I would like to share with you all today, whether you like it or not (hehe). Before hearing these bands, I imagine I was like one of those little wind-up toys, wound as far as I can go but with no discernable direction in which to travel. Then these albums came along and steered me the right way and BANG! Off I sped, headlong towards the wild, distorted throes of rock and punk. To this day I am still disgusted that I had not been enlightened sooner (my Uncle certainly has a lot to answer for as an ex-punk - he should have been sneaking me Clash and Siouxsie Sioux albums as a child! Naturally I am going to assume my duty of introducing my little cousin to the wonders of 'proper' bands in the way I wasn't. Mwahahaha).


+ WHO ARE THESE CORRUPTORS / MUSICAL GODS? +

The other album that partly to blame for my musical preferences, is one that I often pay more attention to as soon as the Autumn season is upon us (perhaps partly because I played this album religiously throughout the Autumn months when I first discovered it?) - is from Californian band AFI, who initially began as a complete hardcore punk band, then as time and albums wore on began to emerge with a slightly darker and more 'gothic' edge. They are a bit difficult to pigeonhole (wikipedia uses horrorpunk and deathrock as genres occasionally); the one term I've seen to be deemed most acceptable is goth- or gothic-punk, but God help anybody who tries to label them emo (ye shall feel my wrath).

The band -

Vocals: Davey Havok
Guitar: Jade Puget
Bass: Hunter Burgan
Drums: Adam Carson

Now, I'd heard some AFI (standing for 'A Fire Inside') tracks before, but seeing them supporting The Offspring at a concert made the hairs on the back of my neck stand up. I was totally transfixed throughout their performance, then got a bit obsessed (joined the fanclub and got a membership card and everything). Then I discovered 'The Art Of Drowning' album, released September 2000 (ooh, Autumn again), and a morbid love affair began...


+ THE ALBUM ITSELF +

01. INITIATION (0:39) - summary : atmospheric and spooky punk intro

This track is an instrumental, and a fairly nifty introduction I think! Very atmospheric, with just some guitar strings being picked and the odd low bass notes, then a sort of spooky, swishy distortion fading in and out as the track picks up it's pace and the drum cymbals crash in with a rolling beat, and it all gets a bit frantic before ending with a banshee-like distortion again, fading to blend perfectly into...
___

02. THE LOST SOULS (2:42) - summary: a fantastically dark, punk-paced love song

We catch the tail end of that spooky swishy sound, and despite the guitar picking speeding up a notch, the drum beat keeps fairly steady and sounds almost tribal... until of course the distortion kicks in, and the beat takes up your typical 'fast and furious' punk pace (cymbals crashing, snare being pounded), then the vocals begin.
Alternating between the background shouts and Havok's strong almost-shouty but melodic responses in the verses, this is far from a ballad but conveys a lot of similar feelings and emotions, with the phrase "look what you've done to me now, you've made me perfect" repeated throughout the choruses. Aww bless.

"If you can't stand
upon the earth then I will see you on the other side
When you blink do you only find
the misery weighs down your eyes?
Then take my hand and sleep with me"
___

03. THE NEPHILIM (02:35) - summary: the track that launched a thousand forum signatures

Unobtrusive crash cymbals, slow drum beat, a steady bassline (that for some reason reminds me of No Doubt's 'Hella Good') then the anticipated distorted guitar and speed increase - tried and tested, why change it? - then some truly enigmatic lyrics delivered in Havok's inimitable vocal style (almost bordering on shouting but only displeasing to those who consider his voice a bit nasal).
The punk sound isn't as obvious in this track, apart from the drumming and guitarwork in the verse and chorus (although in parts of the chorus it deliberately slows before picking up speed again, as if not to deflect from the lyrics), and has a less frenzied bridge with a rolling beat with the others chiming in with the occasional choir-like 'whoaaaaa'. As for the ending... well it's more of a gentle release than a climax, but it's still good.

"Drink the madness, smoke so coy
smile injection, serum of a will destroyed
serum of a will, serum of a will destroyed
The seasons change, change without me
I remain in shadows growing wings"
___

04. EVER AND A DAY (03:06) - summary: Bah! A slower love song with a rock edge

Steady distorted guitar, a much slower drumbeat and bass, then all but a finger-picked guitar hushes to accompany some strong but understated vocals lamenting over a love that was lost - or never even gained. When he's not being loud and shout-y, Havok's vocals have an almost haunted sound to them.
The other instruments are soon reintroduced though, so we're back to his passionate (loud) style while the drums maintain their standard '1,2,3,4' on the cymbals with the odd drum or snare hit thrown in. Don't get me wrong, there are perfect morbid sentiments here - "will you be my beloved / will you be my destruction?" so it's probably one to listen to if you want to wallow in single-ness, or treat as 'your song' if you're happily unsingle and like this kinda thing.

"I'd retrace the steps that lead me here
but nothing lives behind me
So I lie in this field bathed in the light that loves me
with nothing left to lose"
___

05. SACRIFICE THEORY (01:58) - summary: Feels like a filler track, but great lyrics

From the start, the drums are a-thumping, the bass is thundering, and the guitar is razor sharp, racing ahead in it's punk-fuelled glory and leaving the mellower track far behind. Cue the group chanting 'whoaaaa go!' and Davey regaling the audience (you, the neighbours, etc.) in near-shouty mode, with the band (and the audience) chiming in with more well placed 'whoaaaa's / 'go's throughout. It slows slightly for some nice devoted sentiments, but of course ups the tempo again for a lovely group-shouty ending.
Now... some folk apparently think this is about vampirism, some about oral sex (or perhaps both together? Kinky...) but it makes more sense to the rest of us grown-ups to think it's probably about being onstage and 'giving your all' for live performances (of a musical nature, you perverts!). Either way, probably one of the best tracks to perhaps describe 'gothic punk'.

"One to consume, one to renew
demanded invitation.
I offer grace, I offer blood
I offer everything 'til my heart is crystal clear"
___

06. OF GREETINGS AND GOODBYES (03:04) - summary: Doesn't stand out, but good track none the less

Drums, crashy cymbals and distorted guitar chords silence after a few moments so we hear the bare sounds of some catchy bass playing and those 'loud-with-feeling' vocals for the first part of the verse. Of course it doesn't stay this quiet for long, drums and guitar make a reappearance to flesh it out a bit in a track that most agree describes the world and your life as a performance, though it may be safe to assume this could also mean putting on an act in front of others, and hiding the truth (a relationship is one popular suggestion).
Not as fast and frantic and doesn't exactly stand out, but still has a great upbeat feel despite the (assumed) serious nature of the track.

"Enter all the monsters
let us twist another fairy tale
Go kill the lights, we'll glow 'til morning comes
I'll say goodnight, and bow to everyone"
___

07. SMILE (01:31) - summary: Fast, angry anthem for the misanthrope in you

Guitar strings squeal like a cat's tail being trod on, drums roll and cymbals crash like there's no tomorrow and the vocals take on a more aggressive tone as Havok delivers lyrics detailing the feelings of someone who despises everything he sees in the world. Not warm and fuzzy at all and ironically titled - it's so fast and furious in places that I can't even mime the guitar chord changes, never mind play along. And the drums? Forget about it, I'd need arms made of rubber or a whole load of amphetamines. And co-ordination, of course.

"Look upon your bleak creation
but is it truly me that's to be the human blasphemy?
I'll set the world on fire and in the burning light
I'll write my first love song, and I will feel warmth"
___

08. A STORY AT THREE (03:53) - summary: Am I fast or slow... fast or slow...

A slow, creepy and atmospheric guitar... an almost sluggish drumbeat... you've got to wonder if they've just split a bottle of Valium and are nodding off to sleep. This pretence is maintained for a good 40-odd seconds then we hear the reassuring buzzing guitar and loud-as-fook drums launch into the proper 'punk' tempo and the lyrics are delivered so quickly you've no choice but to check the album inlay to find out what's being sung / yelled (although when you do, you're usually left scratching your head).
It gets a bit slower and sparse in parts - almost melancholic in it's tone and through the vocals - although quickly reverts back to the original pace... it's almost schizophrenic, really. Again, not really a standout track, but can't be dismissed as a filler.

"A story at three with the shrillest of cries
my mind fights with the sparkles at the corner of my eyes
So what's sleep? Sleep. Sleep.
I'm tired, so tired, so tired
but it seems that there's someone here with me"
___

09. THE DAYS OF THE PHOENIX (3:27) - summary: Best known track, and rightly so

A blinding guitar solo and drumbeat kickstart this track, which admittedly is probably my favourite as it takes on a reminiscent and upbeat feel that will have you nodding along, jiggling your foot, or up dancing and not caring who sees. The bass and drums keep going as the guitar refrains for the verse, but doesn't lose it's depth as the vocals come across a lot stronger (and delivered a bit slower than in the other tracks!).
'A hive of activity' is how you could describe this track, everybody is busy doing something and it all gels together perfectly. As I've mentioned, the track is fairly upbeat, what with the happy memories and yes, it's got that slower part before the end, but that too avoids being depressing or 'ballad-y'. And a couple of the lyrics are a bit mental, so what with the dancing and the loud singing, your neighbours might think you need a nice white jumper that ties at the back. The track is truly incomparible to any other, and if the guitar hooks don't get stuck in your head then the chorus definitely will.

"The words were as mystical as purring animals
the circle of rage, the ghost on the stage appears
Time was so tangible, I'll never let it go
ghost stories handed down, reached secret tunnels below
No one could see me"
___

10. CATCH A HOT ONE (2:54) - summary: Feel my f***ing wrath! Or perhaps not.

So we go from a happy memories song to a scathing 'should perhaps be sectioned' song. I LOVE a good angry song as well as the next social misfit, and this track starts off very well - the ominous-sounding guitar chords and bass notes, the anticipation of the rolling drums that launch into the verse, cymbals crashing and guitar buzzing, Davey being shout-y and almost growling and sounding quite ticked off. The chorus even seemed promising, until got a bit poetic about insects and ended with an anti-climatic 'have you ever turned to dust?'.
In a chorus I want rage! I want fury! It doesn't even come across as dignified, just a bit strange. How are you supposed to bellow this at someone when you've got such a pishy chorus? Pfft.

"Open your veins so we can make a pool and bathe
and see if anyone complains of the stain
Let's strip you down so we can see your old scars
now you're gonna feel it, now you're gonna feel it"
___

11. WESTER (03:02) - summary: So-so with the odd good lyric, almost a filler

A rousing start. Guitars, bass, drums - it's all go here! It becomes clear pretty quickly that this is another track that probably could best show what 'goth-punk' sounds like. Make sure the instruments maintain the 'punk pace', throw in some minor or flat chords for that 'spooky' sound, and make sure the lyrics are suitably dark with a memorable short chorus that the audience can join in with.
Got that? Marvellous. Now slow the bridge down slightly, but do it in a way so that it's one of those 'slow stompers' rather than a 'ballad-y sway'. Fantastic. The track is almost a filler, and to the first time listener it probably wouldn't stand out very much. Which is a pity really since it's practically another dark punk love song. Oh well.

"Embraced my dead leaves as the rain leaves
trails of black down my face
As I creep through the twilight to that hidden place
beyond the lonely, I'll meet you"
___

12. 6 TO 8 (04:21) - summary: Slow... hopeful... a 'winding down' track strangely not the finale

A slightly subdued guitar and slow resonating vocals are all we hear, apart from the occasional bass note or cymbal hit. I think there's even some angelic wee soul doing backing vocals, but he's soon forgotten as the track's tempo increases slightly and a new strength is found within the vocals and we get a bit more noise from the other instruments.
It's a good track and there certainly seems to be a lot of feeling rather than blasting through it as quickly as they can. It's the kind of track I can picture a band performing at Strawberry Fields (wait, that's not there anymore) or some other wee showcasing venue - but the fuller chorus saves it from being branded amateur. It doesn't bring you down and doesn't really pick you up but leaves you with... an afterglow, could be the word.

"Six figures enter, they've come to destroy the world
they've called together this storm almost every night
I awake in another place
a familiar face with a stranger's face speaks
more unheard words"
___

13. THE DESPAIR FACTOR (03:54) - summary: Crowd-pleasing track starts off moshpit, ends as slow dance. Sort of.

Straight off the bat, the beat is going hell for leather and sounds a bit mad and techno for a few seconds before normality is returned. Dirty distorted guitars and energetic drumming dominate (giving the crowd a few moments of moshpit madness) and don't let up throughout the very fan-friendly verses and chorus that are delivered with the now expected sing-y / shout-y style, but at the pace where the words aren't running together (coz that's just hard to sing along with).
It even pays homage to Beetlejuice with the beloved line 'My whole life is a dark room. One... big... dark... room' (which some fans didn't know and were gushing about how amazing a lyric it was. HA! Peasants). The track soon loses speed, although none of the emotion or meaning although still manages to end on a high thanks to the backing vocals that allow us to join in. Even the guitar notes at the end is eerie but oddly comforting as it seems to emulate a nursery rhyme-type tune.

"As a sigh escaped my lips
I feel the light caress of fingertips that
steal away the breath and leave me on my own
Waiting by the stairs
waiting I despair"
___

14. MORNINGSTAR (11:27) - summary: Almost a ballad, but more baws than Bon Jovi

Calm down, it's not an epic! The song actually ends about the 3 minute 16 seconds mark, there's a hidden track though!

For almost two and a half minutes it's quite bare but effective, with just some gentle guitar picking, a little viola playing, and Davey's understated voice. He doesn't need any vocal trickery like Christina Aguilera to have an effect on the listener with a track like this. After this, the drums and bass come crashing in, the sweet serenade turns to a heartfelt shout for the finale. Very simple track, but quite beautiful in it's own right.

"I saw a star beneath the stairs
glowing bright before descent
And in the morning there is nothing left
but what's inside of me
And I don't want to die tonight, will you believe in me?
And I don't want to fall into the light"
___

*HIDDEN TRACK!* - BATTLED (01:03) - summary: short hidden track returning to their hardcore roots

Beginning at the 10 minute 24 seconds mark, we've got a rousing bass and guitar intro to this 'punk-as-fook' track that has all the right ingredients - fast distorted guitars, constant drums and bass, and short, sharp, delivered lyrics in a 'don't mess with me' shout-y tone. The backing vocalists (shouters) help amp it up too, it's ultimately a very short track, but a nice wee surprise (it took bright spark here about 3 months to realise it was there, despite the word 'BATTLED' on the inside of the CD case and the long track length). You even hear the drumsticks being dropped on the floor at the end... wee touches like that are cool.

"I can't think and I can't speak
my mind is not my own
Feeling like my will is weak
can I find the strength to go on?"


+ CONCLUSION +

Overall, I think this is a fantastic album, despite the one or two tracks that I'm not overly keen on. The fact that the lyrics can be quite morbid and dark at times appeals to me, but the punk stylings of the music prevents the tracks being depressing or making me feel worse than I might already do! This is I feel is probably AFI's biggest appeal to me, it's got the fast paced feel but a depth and meaning to the lyrics. I find ballads to be quite vacuous and bland, but the slower tracks on here come across as more original and not the same old hackneyed sentiments.

To help with the backup vocals they've even got Tiger Army's Nick 13, Rancid's Lars Frederiksen and The Offspring's backup guitar / keyboard / vocal guy who occasionally runs around the stage Chris "X-13" Higgins. That's cooler than when I found out that the Hellacopters did guest backing vocals on a Donnas album!

In my opinion it is definitely the best album AFI have done since changing their hardcore direction, and is certainly an album I would recommend to anyone interested in darker lyrics, a different styling of punk, or who's wanting to branch out from the usual genre they're stuck listening to.



Amazon.co.uk - from £2.99 used and new
Play.com - £10.99
Hmv.co.uk - £9.99
Virginmegastores.co.uk - £12.00


Official Site - www.afireinside.net
Official Myspace - www.myspace.com/afi
Official Fan Club - www.despairfaction.com

Summary: Before AFI took on slight 'screamo' overtones, they were consistently kickass.