On the opening track of Afterhours in the Afterlife, “Here,” the two-man wrecking crew Voyager One musters up the energy of the Beta Band and creates a dreamscape of sound. “The Future is Obsolete” continues to carry listeners further out into the realm of spacey electronics, but with a certain air of pop that grounds the whole affair.
Throughout the entire album, the layers of textured sound overcome the simplicity of the duo, creating a surprisingly beautiful melting pot of songs. “Ocean Grey” starts out with a low-end drone that gives way to a rapid drumbeat and haunting vocals. “Beautiful Wreckage” and "The Kids Take Control” are notable and showcase a little more of the subtle- yet-sublime guitar play, and “Bed of Sound” has a haunting presence; the fuzzy guitar intro meets a hollow drumbeat, the energy feels like a lonely early morning highway drive.
In all, Afterhours in the Afterlife is noteworthy effort. Many musicians are experimenting with electronic influences on pop worthy music, yet very few hit the mark. Voyager One has managed to marry man and machine rather well.