Ghostlight (Strategic)

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 offerings.

The multi-talented 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.

Afterimage's 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 Fritz

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 Diversions

The guitar 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

Afterimage 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 comes out.
- 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."
- Discography

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. (Strategic)

Well-structured 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 Diversions

Anthology. (Trance Port Tapes)

The Afterimage 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.
-Sound Choice

AYF. (Contagion)

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

Afterimage 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)

Sounding like 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.
- Sounds

Afterimage 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

Though the 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. (Contagion)

Zig-Zagged 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

The A-side 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

"Peter Gunn entering the Twilight Zone with the Doors."
-The Amazing Record Boy



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