This album is
everything you could possibly want from rock band. Led by the incredible
Daniel Voznick and his David Byrne-esque vocals, Afterimage is to
the 90's what Talking Heads was to the 80's: a phenomenal band, with
amazing style, that is way ahead of its time. The arrangements of
all 14 tracks are perfect and lend beautifully to Voznick's lyrical
Voznick plays most of the instruments on this CD, dabbling here
and there with sax, organ, and unidentified "machines".
the instrumentation is a somewhat eighties throwback style which
really works to accent the true strength of this album: its lyrics.
For example, on Loves Underground, Voznick muses "between
a first kiss and a 'dear john'/I held her hand/ between a clean
sheet and a cold slap/I made a plan." He is adept at expressing
emotion amidst a sea of cynicism and skepticism like no other.
Ghostlight is one of those albums that just strikes
me as being timeless and perfect in all ways. If this is any hint
of what is in store for pop music, I think the future is looking
very bright indeed.
- Aaron Gustafson, The
After a few
listens, "Slow Fuse" has that strange false-memory feel
to it part of me is sure I heard this song some summer night
when I was 12 years old, reading comics and listening to the radio
loud as my parents argued in the dining room. It's strangely comforting.
- David Michael Ross, DMR
work is crisp, clean throughout, and has a great sound.
One of the best cuts on the album, "Take My Hands" has
outstanding sax and lush back-up vocals. It deserves radio airplay.
The acoustic steel-stringed guitar on "In Heaven's Light"
lays down some lovely notes with just the right amount of vibration.
Another impressive cut.
The Critical Review
has some fans (we think) in Greece. Read on:
The light that
the "ghosts" emit is neither blinding nor does it fill
the void. You can simply feel it and decide yourself how much it
affects you. What could be the music of the resistance? In the case
of Afterimage the distinctive illuminations translate into
a combination of white soul and straight up pop with soft funky
movements of guitar, whispers of saxophone, rythmic tempo of drums
and feminine background voices. The whole album flows with soft
tones which are characterized through marvelous forms. The monotones
break when Latin guitars, new romance keyboards and even loud rock
appear at unexpected points. Music for those times when the sun
- Rock and Pop
From the album
itself, the yearning for rambling pop from the beginning of the
'80's is not missing just as these songs profoundly show: "Out
of Breath" or "Take My Hands."
It would have
been a crystal clear relationship of metapunk pop if, as a paradox,
the tracks of soul didn't mess up things a little and if the lyrics
were more desirable in the light. This exactly and the indifferent
poetry are what convince you at last not to get out of a mess in
a flash with the phantoms of Ghostlight.
- Audio 170
Take My Hands/I Can't Forget.
chord progressions give the band a firm skeleton to flesh out with
very competent sax lines (manages to pull off the pop-sax miracle
of never actually intruding into the song), mellifluous vocals (breathy
enough to set some hearts aflutter, but melodramatic enough to make
the riot grrls reach for the belt-sander), and just enough guitar
to let you know it's there.
- David Michael Ross, DMR
Anthology. (Trance Port
Anthology is an essential introduction for those not familiar
with the band, and a welcome collection of standards and surprises
for those of us who follow them.
For an L.A.
band their influences seem all English, which I suppose is a very
good thing. Their songs are long brooding exercises in dance tension
with the accent on a thunderous rhythm section which owes a lot
to New Order. Keyboards and sax are used to great effect on the
finer cuts here, making Afterimage resemble Magazine quite often.
What is most marked in their music is the ringing guitar motif that
is often associated with U2. Despite being no guitar hero band,
Afteimage are not afraid of using the currently un-trendy instrument
to good effect.
- Ian Kerkhof
is at its best when meshing the tough guitar melodies with some
unusual effectrs. "Part of the Threat" and "Satellite
of Love" are the disc's highlights, thanks to A Produce's ringing
guitar lines and brisk rhythms.
- Music Connection Magazine
Afterimage. Fade In (Contagion)
a load of groups and none of them simultaneously, "Fade In"
works from a rock 'n' roll base peppered with panache and highbrow
lowlife atmospherics that offers a lot of choice between 6 songs.
"Surf Generator" has the most in common with other West
Coast new breeds, and from there Afterimage set off in their own
direction, helped by polished saxophone and fluid organ style that
lifts the less impressive moments and makes the better ones.
is one of the first of L.A.'s psychedelic/art/mystery bands to be
committed to vinyl. Their threatening bass, wailing bursts of sax
and haunted vocals pick up on the brief flurry of experimantal ominousness
of English groups like Wire, Joy Division and Magazine. If the sullen
noises and bleak world view of Afterimage and others like themseems
forbidding, it has also been the wellspring of some of the most
dynamic music in years.
- New Vinyl Times
band often deals in the same obsessive themes of alienation that
bands like Joy Division are aclaimed for, Afterimage's music is
much more upbeat with enough guitar backbeat to support the Sex
Pistols. Despite a somewhat ragged musical attack, songs like "Relapse"
and "Part of the Threat" are evocative, dreamlike and
often eerily haunting.
- L.A. Times
The Long Walk/Strange Confession.
Alec Tension (aka Daniel Voznick), vocalist (as in Iggy) -sax player
(as in Ziggy) for this L.A. agra, produces music far removed from
todays West Coast sounds. Artsier, fartsier than N.Y.'s James Chance,
yet as Limey as Joy Division, but still CHOCKED FULL of Mid-American
industrial dance trance.
- Take It
could be a love song by the Beatles but it's done with rampaging
drums, whistling and scraping effects and a caustic sax solo, so
only the most astute critics (cough) will ever see through to its
pop base. The B-side is like "New Values" Iggy Pop or
pre-Ralph Tuxedomoon, lushly stark, if you can imagine that.
- Option Magazine
Gunn entering the Twilight Zone with the Doors."
-The Amazing Record Boy