After a few limited edition cassette releases, Not Not Fun has released Afterhours’ first full-length Lowlife. I wrote about his debut EP Sleepwalker a while back on here, and sadly (yet, fortunately?) it has sold out on the label’s website. Nicholas Malkin has taken a rather sharp turn with the release of Lowlife. Sleepwalker showed Afterhours in an extremely anachronistic light. Its 80s atmosphere and influences bled through the speakers unabashedly. On Lowlife, Malkin takes what we heard on “Salt on the Wound” and expands on that. From the two tracks available for preview, Lowlife lives up to its name with trip-hop and downtempo being the domineering themes on “Sixty-Forty” and “Defragment #2.” Smooth progressing piano notes glide along the boom bap drums and faint turntable scratches on “Sixty-Forty,” with a dubby bass bubbling guiding it all along. “Defragment #2,” the other track available for preview, is somewhat reminiscent of the other three tracks we heard on Sleepwalker. Check out both tracks below via the Soundcloud players and see what you think of them. Cheers!

 

[soundcloud params=”&show_comments=true&color=0ac4ff”]https://soundcloud.com/not-not-fun-1/afterhours-sixty-forty-1[/soundcloud]
[soundcloud params=”&show_comments=true&color=0ac4ff”]https://soundcloud.com/not-not-fun-1/afterhours-defragment-2[/soundcloud]

 

The Details

As much as Los Angeles gleams in the global mind as a gateway to dream fulfillment and televised wealth/fame amalgams, it’s equally a desert of disappointments. Hence the dead-end yoga cults, under-the-bridge tar dealers, valley burnouts, inland empire nightstalkers, and seas of destitute eastside lowlifes. It’s a vibe central to the vision of Afterhours’ languid, nocturnal music, which has evolved from sleekly moody synthesized sleepwalks to an unusually elegant hybridized trip-hop sub-species. Jammed signals sputter under broken minor key scales. Shuffling, crate-digger drum patterns give way to skeletal house rhythms (“Lovesick”), slow washes of shimmering texture (“Outcome”), and sampled, spectral jazz (“Night And Day”). Though crafted with electronic means, most of Lowlife’s six songs center around acoustic, physical sounds – reverbed piano, dusty snares, crisp percussive accents, soft-focus saxophone. Fragile conjurings of urban ambience, the poetry and pulse of isolation, Staying Up Late To Make Music To Stay Up Late To; the world of Afterhours spins through the dark, en route to dawn. Black vinyl LPs mastered by Eric Hanson in downtown skyline jackets designed by Maxfield Hegedus, plus a hand-numbered photocopied insert. Edition of 375.

Price $12

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