The Afterveins – The Afterveins (LP Blue & Black Marbled)
The trio describes itself as a ‘psychedelic new wave’ band, and judging by the material on their self-titled debut album, that label is certainly apt—though there is more to it than that. When the band won the Grote Prijs Rotterdam last year, the jury immediately drew a parallel with The Feelies. Indeed, the opening track, "The Places," certainly evokes that alternative rock band from New Jersey. Yet, as singer Maks Bolhuis sings in the song, the band refuses to get stuck in a single idiom, constantly seeking out new perspectives.
No standing still, just moving forward: “there are places to go…” The legendary Velvet Underground was a key influence on The Feelies, so it is hardly surprising that this influence also resonates in the work of The Afterveins. This is evident in the album’s second track, the stately "W.F.L.," where guitar, bass, and drums are joined by keyboards and effects that lend the song a psychedelic, hypnotic atmosphere. After just the first two tracks, it is clear that The Afterveins have delivered a stellar album. Notably, alongside the strong songwriting, the recording and production sound remarkably clear and open.
The inclusion of three instrumentals is a bold move; "Interlude #2," for instance, could easily have come straight from Interpol during their Turn on the Bright Lights era—further demonstrating how well The Afterveins align with contemporary post-punk. The second instrumental track—the brief "Interlude #1" (which, surprisingly, appears later in the tracklist)—serves as a lovely lead-in to "Aesit," a fine, up-tempo guitar track. The album concludes with "Outstairs," another instrumental track featuring a biting guitar sound and an intense build-up.
The album's strongest section is sandwiched between the aforementioned parts; spanning just over eleven minutes, it comprises two superb songs that both seem to hark back to the sound of the post-punk band The Sound. After a calm opening, "Intake" unfolds into an exhilarating, hypnotic wall of guitar sound, accompanied by spellbinding vocals that make it seem as though Adrian Borland (of the aforementioned The Sound) and Jim Morrison are looking over Maks Bolhuis’s shoulder.
The absolute highlight, "The Trouble," also shares common ground with The Sound’s best work, while the guitar sound during the build-up evokes Bauhaus’s "Bela Lugosi’s Dead." Following a brief laugh, the bass lays the foundation for a menacing opening of meandering guitars; the intensity steadily mounts, culminating in a fierce apotheosis before suddenly falling silent. The song then slowly rebuilds, ultimately concluding in a perfect climax.
Given the sheer number of references, one might think The Afterveins struggled to find a sound of their own—but nothing could be further from the truth. On this debut, the band succeeds in weaving all their influences—whether conscious or not—into a distinctive sound, resulting in a record that, for all its versatility, forms a cohesive whole.Maks Bolhuis (vocals, guitar, bass), Aswin van As (drums), and Xander van Dijck (guitar, keyboards) have delivered a fantastic debut album that deserves a wide audience among fans of alternative rock and post-punk.
Following in the footsteps of Rats On Rafts, here is another Rotterdam band setting the tone for a contemporary new wave of sharp, idiosyncratic music. *The Afterveins* is a mature album from a band with a bright future ahead. Whether it’s something in the Rotterdam water, I couldn't say, but this certainly leaves one wanting more.
Label: YCR
Country: Netherlands
Media Condition: Near Mint (NM or M-)
Sleeve Condition: Very Good Plus (VG+)
Sleeve has a bended left corner