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This time it started with a conversation: how could they break new ground? \u003c\/p\u003e\n\u003cp\u003eThe key to moving forward actually ended up coming from AFI’s collective past. “We started with something that sounded like Echo \u0026amp; the Bunnymen,” explains guitarist Jade Puget, who produced and engineered the album. “But eventually we ended up with this melange of death rock and post-punk—all this stuff from the late ‘70s and early ‘80s that we grew up on, like Sisters of Mercy, and Bauhaus, and Siouxsie and the Banshees.” The goal became making an album with a singular mood, something dreamy and ethereal, and the band members found themselves diving headfirst into influences that had always been deeply embedded in AFI’s musical core, but now were being brought to the forefront. “We were leaning into that post-punk world and embracing that part of our DNA, but at the same time still sounding like AFI,” says drummer Adam Carson. 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Elsewhere on the driving post-punk of “Voidward, I Bend Back” and “Marguerite” bassist Hunter Burgan channels Peter Hook and Simon Gallup, his airtight playing providing the foundation for Puget’s shimmering, intricate guitarwork. \u003c\/p\u003e\n\u003cp\u003eThematically, Havok describes Silver Bleeds the Black Sun… as “a struggle to reconcile existence in a godless dystopia that lacks sanctuary, mystique, reason, and a chance of survival.” On “Holy Visions,” he showcases these lyrical themes over the kind of muscular, dark new wave that would make Andrew Eldritch proud. “It’s a bit tongue-in-cheek,” Havok explains. “It addresses the concept of right and wrong, and good versus evil, and what is truly evil and is truly good, and whether or not there is such a thing, while also mocking organized religion.” Early album standout “Behind the Clock” roars to life around distorted bass and effects-drenched Killing Joke-esque guitars, while Havok takes inspiration from his lifelong love of the films of David Lynch, dissecting how we relate to the art we consume. “It’s an exploration of life mirroring art versus art mirroring life,” he says. “In a grander sense, it’s about who is part of the art and who is made of the art.”\u003c\/p\u003e\n\u003cp\u003eThat extra layer of intentionality is part of what makes AFI such a special and enduring band. 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Typically the group would start an album by immediately throwing themselves into writing and simply letting their intuitive musical shorthand guide the process, but for Silver Bleeds the Black Sun… AFI set out to purposely change their creative approach all together. 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