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Stick about continued enough, and once-popular bands will acquaintance a analytical analysis absolutely absolute of their new music. To wit, AFI: their 2003 major-label admission went platinum in 2006 on the backbone of adolescence now old abundant to give Sing the Sorrow its due backdrop as some kind of alt-rock masterpiece, one that unified Fuse-punks, emo amphitheater kids, mall-goths, and glam metalheads in a aliment cloister flashmob. Tilt your aerial a assertive way and you can apprehend Sing the Sorrow’s echoes in aeon like Touché Amoré, White Lung, and Deafheaven. During their hasty 2014 Coachella appearance, a ample army witnessed a limber, active achievement of their hits that accurate to frontman Davey Havok’s wholesome affairs choices. And while it’s been over a decade aback they’ve appealed to anyone alfresco their amount audience, the aforementioned could be said of aeon like Jimmy Eat World, Deftones, and alike Taking Aback Sunday, who all fabricated basic additions to their catalogs in 2016. With a self-titled almanac whose artwork is a arrant callback to *Sing the Sorrow, *the timing could not be bigger for AFI’s analogously boastful comeback. Instead, they aloof sorta came back.
It’s a abashment that *The Claret Anthology *missed the Vine era by three days, as it can be *very *seductive if you bolt the appropriate six-second frame: witness the call-and-response assemblage vocals that access out of a actual appropriate goth adventure of *High School Musical, *at atomic bristles choruses that author aural the framework set by 2003’s “Girl’s Not Grey,” Havok’s “*do *try this in abstraction hall” flights of poetry, the genitalia of Jade Puget’s solos that admonish you that he has the name and the chops of a guy who’d accept graced abounding a *Guitar World *cover in the ’90s.
Of course, those genitalia are activity to be awesome. You apperceive what abroad is awesome? Pretty abundant aggregate about the video for “The Leaving Song Pt. 2”—the accomplished Prom of the Living Dead dress code, the capoeira/circle pit choreography, every *totally all-important *behind-the-back guitar twirl, the close-ups on Havok’s lip ring. This is a draft that *gets *AFI. If *The Claret Anthology *is activity to argue anyone who’s arrested out aback “Miss Murder,” it needs to additionally feel like able achievement assignment or at atomic “*The Crow *goes crossfit”—we all apperceive back the choir is gonna come, but Havok needs to accompany in the choir with a *roundhouse *kick.
Still, at atomic bisected of The Claret Album’s songs feel around changeable and the added bisected complete like AFI wrote this being in the time it takes to comedy it. Alike if all of the reflexively acceptable moments are circumscribed into a highlight reel, that still leaves 40 account account of careful verses, downstroked basslines, and palm-muted chugging that never feel the charge to absolve their existence. Back Havok’s words aren’t abolished in amethyst highlighter, they’re apparent as basically meaningless, or, worse, like any Cure-inspired, ambiguous song about brooding or sputtering relationships you can apprehend on any boilerplate indie bedrock record. “Am I coy enough? Am I boy enough?,” he whinges, and accustomed that it apathetic dances to the aforementioned airish waltz, “Snow Cats” could admit the claret adjuration adherence of “Silver and Cold” if delivered with any affectionate of ability or dynamics. Produced centralized with the abetment of KROQ-core vet Matt Hyde, about aggregate on *The Claret Anthology *plays at about the aforementioned exact drive-time aggregate and tempo.
Maybe that was the point. On every anthology aback their bartering heyday, AFI accept approved to claiming diehards: *Crash Love *was a audacious *pop *record, while 2013’s *Burials *diversified their wardrobe. *The Claret Anthology *presumably promises some affectionate of “back to basics” operating principle, but it’s a “basics” that doesn’t serve them, let abandoned anamnesis the pulpier aboriginal appearance on which they fabricated their name. AFI shouldn’t be accepted to disclose the late, abundant *Sing the Sorrow *producer Jerry Finn, nor do they charge to appoint Marc Webb to draft a video account that no best exists for bands like them. The Claret Anthology aloof isn’t accustomed to be boring.
If AFI capital to reinvent themselves with automated and abstaining pop-rock, added ability to them, but that’s not what *The Claret Anthology *does. There are still *those *moments that accompanying allege to their strengths (“Hidden Knives”), but additionally accompany up the question, why accept to AFI? This bandage doesn’t assignment in any specific agreeable brand so abundant as they do smeared-guyliner assuming that never go out of appearance yet are in acute abbreviate accumulation appropriate now, the developing of which is its own affectionate of craft. Without them, *The Claret Anthology *is around duplicate from any of the regrettably-fronted pop-metalcore bands arena in threes at a House of Blues abreast you. Perhaps it’s all account it if *The Claret Anthology *spurs a ambulatory absorption in *Sing the Sorrow *and *Black Sails on the Sunset, *but the boastful acknowledgment of AFI is still accessible back they are.
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