Sing the Sorrow
The group chant at the beginning of Sing the Sorrow sounds like an invitation with conditions attached. AFI create a large, dark setting before the main songs even begin, but the album is more engaging than its solemn entrance might suggest. There is speed, melodic clarity and a useful willingness to disturb the atmosphere they have carefully established.
The Leaving Song, Pt. 2 gives the opening stretch a sharp burst of force. Davey Havok moves between a clean line and a much harsher attack, while Jade Puget's guitar gives the changes a clear shape. The band can make aggression feel organised without making it sound cautious.
Girl's Not Grey is the most immediate expression of that skill. Its quick pace and bright chorus make the song welcoming, even while the words and vocal character preserve the band's darker identity. The middle section adds enough tension to make the final return feel useful. It is an excellent pop song built from material that still has rough edges.
Silver and Cold takes more time, allowing the restrained verses to establish a contrast with the chorus. Death of Seasons is less settled, bringing electronic detail into a song that also has some of the record's hardest passages. The experiment is not seamless, but the uneasy join gives it character.
There are moments when the production effects seem more interested in maintaining a mood than developing a song. The sombre language can also become vague, asking the performance to create meaning that the words do not make clear. Havok's conviction often solves that problem, though not every dramatic gesture needs the same weight.
Dancing Through Sunday provides an important reminder of the band's speed and precision, cutting through the heavier atmosphere. Elsewhere, This Celluloid Dream gives Havok another strong melodic route. Sing the Sorrow works because its different sides keep interrupting one another productively. AFI make room for a bigger sound while retaining enough friction to keep the songs alive inside it.
