Decemberunderground
Decemberunderground is the seventh studio album by the American rock band AFI, released on June 6, 2006, through Interscope Records.[1] The album debuted at number one on the Billboard 200 chart, selling 182,000 copies in its first week and marking the band's first chart-topping release.[2] It features 12 tracks blending alternative rock, goth, and electronic elements, with prominent singles including "Miss Murder" and "Love Like Winter."[1][3] Produced by Jerry Finn at studios including Conway Recording Studios in Los Angeles, Decemberunderground showcases AFI's evolution from their hardcore punk roots toward a more melodic and atmospheric sound influenced by '80s goth and new wave acts like The Cure and New Order.[1][4] The album's themes explore love, loss, and existential despair, often delivered through Davey Havok's soaring vocals and Jade Puget's layered instrumentation featuring keyboards and programming.[4] Key tracks like "Miss Murder," which peaked at number 24 on the Billboard Hot 100,[5] and "The Interview" highlight the record's emotional intensity and progressive songwriting.[4] Critically, Decemberunderground received generally favorable reviews, earning a Metascore of 72 out of 100 on Metacritic based on 15 critics, praised for its ambitious expansion of AFI's style while retaining aggressive rock energy.[6] Publications like Punknews.org lauded it as a "startling evolution" and an "unqualified success" in blending genres, though some noted minor issues with sequencing and occasional metalcore influences.[4] Commercially, the album has been certified platinum by the RIAA, solidifying AFI's mainstream breakthrough following their previous release Sing the Sorrow. Its enduring popularity is evident in fan acclaim, with a user score of 7.6 on Metacritic.[6]Background and recording
Development
Following the breakthrough success of their 2003 album Sing the Sorrow, which debuted at No. 8 on the Billboard 200 and eventually achieved platinum status, AFI transitioned from their indie punk origins on Nitro Records to a continued major-label partnership after DreamWorks Records— their initial major imprint—was absorbed by Interscope Records in 2005.[7][8] This shift amplified the band's exposure but introduced heightened commercial expectations, prompting a deliberate evolution in their creative approach to maintain artistic integrity amid growing mainstream pressures.[9] The band opted to reunite with producer Jerry Finn, who had helmed Sing the Sorrow and was renowned for crafting polished pop-punk productions with acts like Green Day and Blink-182, to refine their sound for broader appeal while preserving core punk energy.[10] Finn's involvement extended to pre-production guidance, emphasizing meticulous arrangement to elevate the material beyond their hardcore roots.[10] Songwriting for Decemberunderground began in earnest around 2005, with guitarist Jade Puget and vocalist Davey Havok collaborating extensively—Puget on music and Havok on lyrics—to generate over 100 song ideas, ultimately narrowing them to 12 through rigorous self-editing.[11][9] These sessions, held in informal settings like their A&R guy's basement and at Green Day's Billie Joe Armstrong's home, focused on expanding sonic palettes, including Puget's push toward more prominent electronic and synth elements to diverge from earlier hardcore influences.[11][9] Band dynamics faced strains from the major-label scrutiny post-DreamWorks acquisition, including the pressure to deliver hits and the challenge of balancing creative experimentation with commercial viability, though Puget's central role in composition helped navigate these tensions.[9][11] Extensive touring from 2003 to 2005 supporting Sing the Sorrow further influenced this phase by exposing AFI to diverse audiences and reinforcing a thematic pivot toward accessible, anthemic structures suited for larger venues.[12] The overall pre-production spanned roughly two years, culminating in a focused effort to outdo their prior work without rushing into recording.[11][10]Recording process
The recording of Decemberunderground took place primarily at Conway Recording Studios and Sage & Sound Recording Studios in Los Angeles, California.[13] These sessions, which built on songwriting efforts from the band's development phase where they composed over 100 potential tracks, focused on refining a selection of material into a cohesive album.[9] The process emphasized logistical precision, with the band tracking instruments and vocals in a structured environment to capture their evolving sound. Producer Jerry Finn, returning from his work on AFI's prior album Sing the Sorrow, oversaw the sessions alongside recording engineer Joe McGrath, with assistance from Seth Waldmann and Jason Gossman.[13] Finn's techniques involved layering punk energy with synth-pop and new wave elements, using his expertise in heavy-rock dynamics to enhance the band's retro-punk foundation through careful mixing of guitars, drums, and keyboards.[10] Specific efforts included separate tracking for backing harmonies by band members such as bassist Hunter Burgan, contributing to the album's layered vocal texture, while drummer Adam Carson handled overdubs to refine rhythmic elements.[14] The band described the studio work as intensive, requiring extended time to perfect arrangements and ensure each track advanced their artistic progression.[15] Principal recording wrapped in early 2006, allowing for post-production refinements ahead of the June release.[13] Mixing was led by Finn, with Chris Lord-Alge handling select tracks (3, 4, 6–8, and 10), and the final product was mastered by Ted Jensen at Sterling Sound in New York City.[13] Interscope Records facilitated the sessions with resources aligned to the band's vision, reflecting their established major-label partnership following the commercial success of previous releases.Musical style and composition
Genre and sound
Decemberunderground represents a pivotal shift in AFI's musical identity, moving away from the raw post-hardcore aggression of their earlier work toward a more accessible alternative rock framework infused with pop-punk energy, synth-pop textures, and new wave sensibilities. This evolution builds on the band's prior experimentation in Sing the Sorrow but emphasizes a sleeker, radio-friendly polish while retaining traces of their punk heritage. The album's sound draws heavily from '80s influences, creating a nostalgic yet modern vibe that balances dark, atmospheric undertones with anthemic hooks.[16][17][18] Central to the album's sonic palette are the prominent synthesizers contributed by guitarist Jade Puget, which introduce electronic loops and shimmering layers reminiscent of Depeche Mode and New Order, adding a dreamy, industrial edge to several tracks. Bassist Hunter Burgan's lines provide a pulsating backbone, often driving the rhythm with haunting, melodic prominence that anchors the band's dynamic shifts. The production by Jerry Finn, featuring a clean, expansive mix, amplifies these elements through effects-laden guitars, programmed drums, and occasional '80s-style synth swells, resulting in a cohesive yet varied listen. For instance, "Miss Murder" channels a gothic rock vibe with its brooding bass intro, aggressive riffs, and soaring chorus, while "Love Like Winter" highlights saccharine synths and gang vocals for a pop-inflected urgency.[4][18][19] The album's 12 tracks weave together energetic anthems and introspective ballads, showcasing melodic structures and atmospheric depth influenced by The Cure and Joy Division. Tracks like "The Killing Lights" incorporate orchestral swells and church organ accents for dramatic flair, contrasting the punk-infused bluster of songs such as "Summer Shudder" and "37mm," which feature chorus-driven builds and intricate arrangements. This blend underscores AFI's stylistic maturation, prioritizing emotional resonance through layered instrumentation over sheer intensity.[20][21][18]Lyrics and themes
The lyrics of Decemberunderground center on themes of love, death, isolation, and existential dread, articulated through dense, metaphorical language that invites personal interpretation. Lead singer Davey Havok explained the album's title as evoking "a time and a place. It is where the cold can huddle together in darkness and isolation. It is a community of those detached and disillusioned who flee to love, like winter, in the recesses below the rest of the world," portraying an underground realm as a refuge for the emotionally alienated.[22] This symbolism recurs throughout, representing hidden emotions and a withdrawal from societal norms into introspective solitude. Havok's poetic style employs vivid, gothic imagery reminiscent of romantic literature, blending abstract motifs with narrative fragments to explore human vulnerability. Tracks like "The Interview" convey existential dread through lines such as "I crawl across this cracked expansion / I’ll be buried soon / Beneath the sand with pure intentions / Wanting something, someone to follow," underscoring a search for meaning amid despair.[23] Similarly, "Affliction" delves into self-loathing and sacrificial love with "Oh, I will be all right, just use me / Just use me / The future’s bright without me," highlighting isolation as a form of emotional surrender.[23] "Endlessly, She Said" addresses the futility of romantic bonds, where misery persists as a constant companion despite repeated attempts at connection.[24] The album marks an evolution from the horror-punk intensity of Sing the Sorrow, which emphasized raw anger, despair, and mortality through gothic-edged narratives, toward more introspective and accessible explorations of emotional turmoil.[25][21] In "Miss Murder," for instance, themes of loss and obsession emerge via "What’s the hook, the twist within this verbose mystery? / I would gladly bet my life upon it / That the ghost you love, your ray of light will fizzle out / Without hope," shifting from overt horror to subtle psychological tension.[23] "Love Like Winter" further illustrates fleeting relationships through wintry metaphors of allure and transience, as in "Here, it’s December every day" and references to being "of sugar and ice," evoking love's cold, ephemeral beauty.[24]Artwork and packaging
Cover art
The cover art for Decemberunderground features art direction and design by Morning Breath Inc., illustration by Alan Forbes, and photography by James Minchin, presenting a stark, monochromatic image of three rabbits arranged in a swirling circular formation against a snowy forest background.[26][27][28] This minimalist black-and-white aesthetic evokes the album's titular concept of winter isolation and concealed realms, as described by vocalist Davey Havok: "DECEMBERUNDERGROUND is a time and a place. It is where the cold can huddle together in darkness and isolation. It is a community of those detached and alienated from a world that no longer cares."[29] The recurring rabbit motif, originating from prior AFI visuals, appears in the album's promotion.[24]Packaging details
The standard edition of Decemberunderground was released in a jewel case format for CD, featuring a multi-page booklet that includes complete lyrics, production credits, and band photographs.[28] The booklet also contains liner notes written by the band members of AFI, along with acknowledgments for the production team and recording studios.[30] A limited edition CD variant included four different booklet designs, each highlighting a specific band member with exclusive photos, randomly distributed in sealed copies.[30] The vinyl edition is a double LP pressed in 2006 on black vinyl, housed in a gatefold jacket with a double-sided insert featuring lyrics on one side and additional band photos on the other.[31] Limited colored variants from the era include a special edition box set comprising six clear 7-inch vinyl records, packaged in a collectible box that echoes the album's cover art imagery.[32] Digital formats were made available through iTunes in 2006, offering the standard 12-track album as AAC files at 256 kbps, with an exclusive bonus track version for pre-orders that included additional content not found on physical releases.[33] The Japanese special edition was released as a CD with additional tracks, packaged in a standard jewel case similar to the international version but including region-specific obi strip and liner notes adapted for the market; a CD+DVD variant was also issued, featuring the audio disc alongside video content in a dual-disc digipak.[34] No deluxe reissues or expanded editions of the album were noted prior to 2025.[1]Release and promotion
Album release
Decemberunderground was released on June 6, 2006, through Interscope Records in the United States.[1] International releases followed shortly thereafter, with the United Kingdom edition issued on May 29, 2006, and European versions appearing in early June.[26] Serving as the follow-up to AFI's major-label breakthrough Sing the Sorrow from 2003, the album carried significant expectations for further mainstream success and broader accessibility.[8] Distributed globally by Universal Music Group, the record reached physical retailers and digital platforms, including iTunes, where a bonus track version was offered exclusively.[35] Building on pre-release anticipation from its development, a full stream became available online on May 30, 2006, one week ahead of the U.S. physical launch.[24] The standard CD edition retailed initially at around $13.98 in major U.S. stores, while a limited vinyl pressing was handled separately by Adeline Records.Singles and videos
The lead single from Decemberunderground, "Miss Murder", was released digitally on April 3, 2006, and to radio on April 25, 2006. The track, written by AFI frontman Davey Havok and produced by Jerry Finn, peaked at number 24 on the Billboard Hot 100 and reached number 1 on the Alternative Airplay chart, marking the band's first entry into the Hot 100.[36] Its accompanying music video, directed by Marc Webb, features a narrative centered on a mysterious killer pursued by police, intercut with performance shots of the band on a stage framed by red curtains, evoking a theatrical tone that aligns with the album's gothic themes.[37] The single's commercial releases included b-sides such as a cover of INXS's "Don't Change" and a live acoustic version of "Silver and Cold" from the band's earlier album Sing the Sorrow.[38] The second single, "Love Like Winter", followed with a radio premiere on September 26, 2006, and a physical release in October. Produced by Jerry Finn and mixed by Chris Lord-Alge, it climbed to number 4 on the Billboard Alternative Airplay chart, benefiting from the album's momentum.[39] The music video, also directed by Marc Webb, depicts the band members traversing a snowy, ethereal forest where they succumb one by one to a chilling fate, leaving Havok isolated amid animated winter landscapes that emphasize themes of isolation and eternal cold.[40] International editions of the single featured a b-side cover of Morrissey's "Jack the Ripper", adding a punk-inflected nod to post-punk influences.[41] In 2007, AFI issued "The Missing Frame" as a promotional single, primarily for radio and digital platforms, without a commercial physical release or accompanying music video.[42] The track, like its predecessors, was produced by Jerry Finn and served to extend the album's promotion, though it did not achieve significant chart success. No remixes or notable b-sides were tied to this release.Marketing campaigns
To generate pre-release buzz for Decemberunderground, AFI released the lead single "Miss Murder" as a teaser track on their MySpace page in April 2006, allowing fans to stream it ahead of the album's launch.[43] The band also engaged fans through a cryptic online contest dubbed "The Charlotte Mystery" in late March 2006, featuring puzzles scattered across message boards, phone numbers, and websites that rewarded solvers with invitations to exclusive private listening parties in cities like Los Angeles, New York, and San Francisco.[24] Fan club members received additional exclusives via the Black Sails newsletter, including early access to promotional materials and contest details tied to the album's themes.[44] The Decemberunderground Tour spanned 2006 to 2007, supporting the album with a mix of headlining dates and festival appearances; openers included the Dillinger Escape Plan and Nightmare of You for U.S. shows in June and July 2006.[43] AFI headlined select stops on the 2006 Vans Warped Tour, performing alongside acts like NOFX and Rise Against to broaden their reach among punk and alternative audiences.[45] The tour also featured shared billing with My Chemical Romance at events such as the 91X Nightmare Before Xmas concert on December 10, 2006, in San Diego.[46] Media appearances amplified the campaign, with AFI delivering a live performance of "Miss Murder" at the 2006 MTV Movie Awards on June 3. The band appeared on Fuse for interviews and performances that summer, showcasing tracks from the album to rock viewers.[47] Print coverage included features in Kerrang! magazine's issue #1116 (July 15, 2006), which highlighted the band's evolution, and Alternative Press magazine's #216 (July 2006), where AFI graced one of the subscriber-exclusive covers as part of the publication's 21st anniversary issue.[48] Merchandise efforts centered on album-themed clothing and posters that evoked the underground motif, such as tour tees featuring shadowy rabbit imagery from the cover art and promotional posters distributed to record stores in 2006.[49] Digital promotion in 2006 leveraged emerging platforms, with iTunes offering exclusive bonus tracks—"Jack the Ripper" (a Morrissey cover) and "On the Arrow"—to pre-order customers, marking one of the band's early forays into digital incentives.[50] Online contests extended the cryptic puzzle theme, while the full album streamed early on May 30 via select partners, building anticipation before the June 6 release.[24] Singles like "Miss Murder" served as promotional anchors, driving streams and video plays across MTV Overdrive and similar services.[24]Reception
Critical reviews
Upon its release in 2006, Decemberunderground received generally favorable reviews, earning a Metacritic score of 72 out of 100 based on 15 critic assessments.[51] Critics praised the album's ambitious expansion of AFI's sound, blending post-hardcore aggression with goth, industrial, and electronic elements while maintaining bombastic rock roots.[51] AllMusic awarded it four out of five stars, noting the band's ever-evolving goth-punk style in a tighter, lighter form that showcased strong hooks and memorable anthems.[52] Similarly, Blender gave it 70 out of 100, highlighting Davey Havok's icy, stentorian vocals and mega-choruses that lent epic scope to the themes.[51] Punknews.org rated it 8 out of 10, calling it a remarkable evolution into goth-industrial territory without abandoning punk energy.[4] However, some reviews were mixed, critiquing the album for overproduction and a perceived dilution of AFI's raw punk edge. Rolling Stone scored it 60 out of 100, observing that while it featured good individual songs, it lacked the front-to-back cohesion of predecessor Sing the Sorrow.[51] Spin also assigned 60 out of 100, praising the production but faulting Havok's diary-like lyrics as occasionally awkward and laughable.[51] NME described it as a maudlin mope-fest rife with schlock rock clichés and risible synth-pop attempts, though it acknowledged the strength of its choruses in blending HIM's love-metal with Fall Out Boy's pop-punk flair.[53] Uncut noted a heavy debt to 1980s electropop, rating it 60 out of 100 for its stylistic borrowings.[51] Retrospective assessments from the 2010s have reappraised Decemberunderground more positively, emphasizing its role in shaping emo's evolution. In a 2016 list of essential emo albums for Generation Y, Elite Daily highlighted it as a groundbreaking record that propelled AFI into mainstream emo territory with its dark, anthemic intensity.[54] Slant Magazine, in a 2006 review echoed in later discussions, foresaw its mainstream appeal, a prediction borne out in reexaminations of its enduring hooks and vocal dynamism.[18]Commercial performance
Decemberunderground debuted at number one on the Billboard 200 chart, selling 182,000 copies in its first week of release on June 13, 2006, marking AFI's first chart-topping album.[2][55] In the United States, the album was certified gold by the Recording Industry Association of America (RIAA) on August 30, 2006, for 500,000 units shipped. It had sold 993,000 copies as of September 2009 and was certified platinum on May 28, 2013, for 1,000,000 units shipped.[56][24] Internationally, the album peaked at number 16 on the UK Albums Chart, number 3 on the Australian ARIA Albums Chart, and received platinum certification in Canada for 80,000 units on June 18, 2019.[57][58][59] In the streaming era, Decemberunderground has experienced renewed popularity, accumulating over 467 million plays on Spotify as of November 2025, driven by tracks like "Miss Murder" which alone exceeds 355 million streams.[60][61] The album's lead single "Miss Murder" earned AFI a win for Best Rock Video at the 2006 MTV Video Music Awards, along with nominations for Best Direction in a Video and Best Cinematography.[62][63]Content and credits
Track listing
All songs on the standard edition of Decemberunderground were written by AFI members Davey Havok, Jade Puget, Adam Carson, and Hunter Burgan.[64] The album's standard edition consists of 12 tracks with a total runtime of 44:39.[3]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Prelude 12/21" | Havok, Puget, Carson, Burgan | 1:34 |
| 2. | "Kill Caustic" | Havok, Puget, Carson, Burgan | 2:39 |
| 3. | "Miss Murder" | Havok, Puget, Carson, Burgan | 3:26 |
| 4. | "Summer Shudder" | Havok, Puget, Carson, Burgan | 3:06 |
| 5. | "The Interview" | Havok, Puget, Carson, Burgan | 4:16 |
| 6. | "Love Like Winter" | Havok, Puget, Carson, Burgan | 2:45 |
| 7. | "Affliction" | Havok, Puget, Carson, Burgan | 5:28 |
| 8. | "The Missing Frame" | Havok, Puget, Carson, Burgan | 4:40 |
| 9. | "Kiss and Control" | Havok, Puget, Carson, Burgan | 4:19 |
| 10. | "The Killing Lights" | Havok, Puget, Carson, Burgan | 4:04 |
| 11. | "37mm" | Havok, Puget, Carson, Burgan | 3:55 |
| 12. | "Endlessly, She Said" | Havok, Puget, Carson, Burgan | 4:27 |
AFI
- Davey Havok – lead vocals[64]
- Jade Puget – guitars, programming, keyboards, co-lead vocals on "The Interview"[64]
- Hunter Burgan – bass guitar, additional programming, additional keyboards[64]
- Adam Carson – drums[64]
Additional musicians
- Ronan Harris – additional keyboards, additional background vocals[64]
- Dave McCracken – additional keyboards[64]
- Nick 13 – additional background vocals[64]
- Additional background vocals – Jerry Finn, Joe McGrath, Ralph Saenz, Brandan Schieppati, Jackie Simley, Dan Under, Luke Wood, and others[64]
Production
- Jerry Finn – producer, mixing[64]
- Chris Lord-Alge – mixing (tracks 3, 4, 6–8, 10)[64]
Engineering
- Joe McGrath – recording engineer[64]
- Keith Armstrong – assistant engineer[64]
- Jason Gossman – assistant engineer[64]
- Dmitar Krnjaic – assistant engineer[64]
- Kevin Mills – assistant engineer[64]
- Seth Waldmann – assistant engineer[64]
- Eric Weaver – engineer[64]
- Mike Fasano – drum technician[67]
Mastering
- Ted Jensen – mastering (at Sterling Sound)[64]
Artwork and packaging
- Morning Breath Inc. – art direction, design[30]
- James Minchin III – photography[68]
- Alan Forbes – illustration[69]
Additional staff
- Luke Wood – A&R[30]
- Stormy Shepherd – booking[28]
- Ed Alexander – A&R coordinator[28]