Track listing: Getaway, Afterlight, Hold The Lane, Acropolis, Pt. II, In Another Life
Sometimes the best records aren't the ones chasing the next trend—they're the ones that have been quietly waiting to be made. That's exactly what Afterlight feels like. After years of playing in successful bands, LVSA finally stepped out to make music without compromise, explaining, "I wanted to create music I wanted to listen to rather than for the masses—if I liked it, hopefully others would too." That mindset permeates every minute of this five-song debut EP. Rather than simply recreating the sounds of the 1980s, Afterlight captures the feeling of that era: cinematic, emotional, and larger than life.
The instrumental opener, "Getaway," immediately paints a picture. It's impossible not to imagine an '80s chase sequence unfolding across the screen, recalling the brooding electronic tension of Brad Fiedel's legendary score for The Terminator. Layers of synthesizers push relentlessly forward before easing into quieter passages that feel almost reflective, as though the protagonist has found a brief moment to consider how they ended up in this impossible situation. That cinematic thread carries naturally into the title track, where pulsing sixteenth-note synths underpin an emotional vocal performance. Equal parts dancefloor anthem, pop song, and synth-pop throwback, "Afterlight" would feel right at home alongside the era that inspired it without ever sounding trapped there.
"I've always felt that my process to create music is making something that makes me feel some kind of guttural emotion. If it doesn't do that, then I've taken a wrong turn somewhere. Everything I release now and in the future will continue to be geared around emotion and groove. If it makes me want to dance or cry then it's probably a good song!"
"Hold The Lane" might be the EP's secret weapon. The wonderfully compressed handclaps, warm analog textures, and lush low-end synths create waves of sound that rise and fall before crashing into dramatic new sections. It's a lesson in dynamics as much as songwriting. Then comes the ominous "Acropolis, Pt. II," where LVSA shifts gears completely. Darker, more imposing, and constantly moving forward, it feels less like a song and more like the soundtrack to a pivotal turning point in the story the EP has been telling all along.
The closing collaboration with The Bad Dreamers, "In Another Life," provides the emotional payoff. Bright major-key melodies, soaring hooks, and Jesse Molloy's expressive saxophone instantly conjure memories of the great pop productions of the 1980s—from Wham! to The Lost Boys soundtrack—while remaining unmistakably modern. Throughout Afterlight, LVSA proves that nostalgia works best when it's earned rather than borrowed. This isn't a record content to imitate the past. It's an artist finally making the music they've always wanted to make, and that sense of purpose gives Afterlight its lasting resonance.