AFI sounds like a band in flux. Their last two records, Sing the Sorrow and Decemberunderground had a razor-sharp focus. Sing the Sorrow was punk rock with heavy metal bombast, while Decemberunderground was post-punk with the volume turned up. Listening to Crash Love, it’s hard to tell what they had in mind. It’s a mishmash of different sounds with no coherent theme.
The opening track is often the most important element in an AFI record. It establishes the band’s sonic direction and builds tension. “Torch Song” begins with the obligatory fade-in and gloomy sounds, but then goes full blast. Obviously the band wanted to try something new, but that tension is such a pivotal part of their sound. Jade Puget’s guitar riff is appropriately bombastic, but it comes in too soon. The slow build of “Miseria Cantare” led to a gratifying release when the guitars exploded. “Torch Song” needs that release.
Crash Love is like AFI trying to sound like AFI. They play the role well. Lead singer Davey Havok hits all his usual beats. There’s the “OH!” at the beginning of every song, the gang vocals on the chorus. His Morrissey fixation is even more prominent here than it was on Decemberunderground. ”OK, I Feel Better Now” is almost a sonic shrine to Moz. Havok stretches out every note, making each line as dramatic as possible.
The musicianship is excellent as usual. Puget’s guitar work is especially noteworthy. He can play riffs that are really complicated, or he can keep it simple. It all depends on what the song calls for. His guitar has a bit of an electronic buzz to it, which gives his playing a slightly new-wave feel.
AFI sounds like AFI on this record, but there is one major change. The production and the tone of the songs are really bright. They want to cater to the mainstream, so the production is brighter, the songs have less of an edge, and the overall tone is lighter. They couldn’t wallow in the muck of post-punk forever, but “Veronica Styles Smokes” sounds downright friendly. It doesn’t really fit. The slower songs are basic power ballads, slow and inoffensive with just the right amount of volume to get mainstream airplay. What separates “Darling I Want to Destroy You” from every other ballad on modern rock radio? They have sacrificed the ambiance, which is what sets AFI apart from their peers.
Crash Love is a holding pattern for AFI. Eight albums into their career, they are making their bid for true mainstream acceptance. The result is a mostly forgettable album. AFI’s most admirable trait is their ability to change with every album. They have done it again, but this is the first time that the change isn’t successful. When you call your fans The Despair Faction, it’s hard to take a bright and shiny rock record seriously.