When I unboxed some of the CD’s, I saw a few bands that start with A that I have missed in my Record Vault stories.
So here is a double post on AFI and Audrey Horne. And if you are interested in the previous Audrey Horne post, click here.
“December Underground” was released in 2006 and the album is a masterpiece in progressive pop song writing structures.
But if you don’t like the screamo style vocals, then you need to train your ears to ignore them in some songs, so you can appreciate the music and the song writing.
The eerie “Prelude 12/21” is a cool introduction, with “kiss my eyes and put me to sleep” being the catchcry as it morphs into the punk screamo rock of “Kill Caustic”. And when the hit single, “Miss Murder” comes up, it jars me, with its pop like vocal and addictive bass riff.
“Summer Shudder” is real cool to play on guitar, and that vocal melody for the lyric, “under the summer rain” remains with me long after the song is finished. “The Interview” is driven by a bass riff as it rolls through so many different emotions, until a brief pause and then the Chorus crashes in. And let’s chuck in a church organ for the last minute, that doesn’t make pop sense but makes musical sense.
“Love Like Winter” sounds like it came from “The Rasmus”.
“The Missing Frame” and “Kiss and Control” have little riffs here and there which are cool to jam and they are enjoyable listens. And the haunting vocal melodies.
“The Killing Lights” sounds like it came from The Cure and New Order.
I purchased “Lo Fel” after overdosing on the self-titled album, “Youngblood” and “Pure Heavy”. So I went back looking for some of Audrey Horne’s earlier stuff. The album was released in 2007, but with all things related to music, access happens much later.
The opening track “Last Chanse For A Serenade” sounds like a Brides of Destruction track, full of attitude and industrialism. But from the outset, I was enjoying the progressive tone in the song writing. The songs don’t follow a particular formula like verse and chorus.
“Jaws” is a favourite. The vocal melody is like Tool especially in the Chorus, the riffs are progressive metal/rock, the production is top notch and the performances get me playing air guitar.
“Threshold” is a perfect blend of all the modern rock tones and song writing, with a touch to their 70’s and 80’s roots. “Monster” has a Chorus about the world closing in and everyone who was around is not around anymore.
“Afterglow” has this riff which feels progressive. “In The End” is full of different movements. “Pretty Girls Make Graves” sounds like it came from Soundgarden. “So Long, Euphoria” closes the album and after hearing the 6 minute song, I press repeat. The groove and how it builds is satisfying.