aaamusic | On 05, Nov 2011

It has to be said, FFAF have seemed to spur a revolution in Welsh music, paving the way for a flood of bands ranging from the absurdly good to the absurd and many detours in between, and this is a double-edged sword for them: one the one hand, they are “influential”. On the other hand, it’s easy to almost forget about them, but ‘See You All In Hell’, while perhaps not the pinnacle of their output, is a quality EP that will no doubt remind people why these guys have pioneered a whole movement.

 

Opening with two crushingly heavy “post-hardcore” metal tracks, the FFAF leave us in little doubt that they can still riff with the best of them. ‘High Castles’ is a seething, breathless moshpit soundtrack in the making, with a chorus that soars with getting all U2 on its audience, and the riffs are at once seamless and beastly in execution, with a midsection that somehow allows the lyrics to breathe amid the chaos, leading into a tense breakdown and a fluid lead into ‘Will To Die’, which sounds like Fugazi being ambushed by Metallica, and not the Lou Reed collaborating variety. The vocal delivery is a raw and aggressive assault lifted from heavy punk, and the instruments are stalking the jagged, ten-tonne landscape that links Killing Joke and thrash metal.

Unfortunately, the Bono spirit rises with two songs’ worth of vengeance in the questionable and awkward ‘Medicated’. Remixed by LoveGadgetsHateGizmos, this becomes a synthy ballad worthy of a 90s boyband in its heavily processed sound, reliance on computerised reverb and odd hooks that are hammered into trite by crooned backing vocals. Every band has poppy slow songs (or nearly every band) but this feels decidedly out of place, and it really drags the feel of the EP as a whole, due to being so out of place after two intense, belting tracks.

Thankfully, the raw and energetic rendition of ‘Sixteen’ as performed for XFM redeems proceedings. Retaining a poppy hook here and there, FFAF lay bare a quality modern American punk style in vocals and lyrics, informed by UK heavy metal in the tight and distorted guitar work and pounding drums. So they can do a good pop track. Likewise, ‘Man Alive’ gives a refreshing breath of punk-pop heaviness like a more metallic Alkaline Trio, with confessional lyrics and fun in the riffs and danceable rhythm. And as if to really bash away any aftertaste of dubious synth ballads, there’s a bone-shaking, throat-ripping rendition of ‘Broken Foundations’ with a guitar sound like sugared concrete hailstones and barbed wire, and another instance of the band playing tight as a vice. ‘Front Row Seats To The End Of The World’ cap off the XFM sessions, blending a surreal intro and tasty riffs with discordant hardcore verses and an unfortunate overly pop singalong chorus.

The acoustic version of ‘Old Hymns’ has a faintly Thrice vibe to it (praise in my books) possibly due to a complex yet palatable interplay of acoustic guitar and gritty soulful vocals, and heartfelt, powerful lyrics. ‘Welcome Home Armageddon’ is a little emo in its lyrics, but it’s still a passionate and indeed affecting song.

 

I would once again say, this is not Funeral For A Friend’s best, but then again, when it hits home, there is still blood and thunder aplenty to show fans that these guys are by no means ready to fade away yet.

 

Katie H-Halinski