Afterglow – ‘Crystal Blue’

(Metallic Blue Records)

Afterglow’s Crystal Blue sits comfortably in that familiar melodic rock space where polished hooks, glossy production, and earnest vocals carry the load. It’s the kind of record that feels immediately accessible, easy to settle into, and never particularly challenging. That’s not necessarily a criticism, there’s something to be said for an album that knows exactly what it wants to be but at the same time, it rarely stretches beyond its own well-defined boundaries.

Afterglow is essentially the work of multi-instrumentalist Jim Shepherd, with vocals handled by Celyn Chow, and that one-man-band foundation is pretty apparent throughout. Shepherd clearly has a solid grasp of the genre’s mechanics: layered guitars, steady rhythms, and a clean, radio-friendly mix. Everything is in its right place, and from a technical standpoint, it’s hard to fault. The guitar tones, in particular, are consistently pleasing, crisp without being sterile, and occasionally breaking into some genuinely enjoyable melodic flourishes.

That said, there’s also a certain uniformity that creeps in as the album progresses. The songwriting tends to stick closely to established melodic rock formulas, and while that makes for a smooth listening experience, it also means that not much really jumps out as memorable. You get plenty of competent chord progressions and well-structured arrangements, but only sporadically do they develop into something that feels distinctive or emotionally resonant.

Celyn Chow’s vocal performance is another area where the album both succeeds and falls a bit short. She has a clear, pleasant voice that suits the material well, and there are moments where her delivery genuinely lifts the songs, particularly when she leans into a more expressive or dynamic phrasing. However, much like the instrumentation, the vocals tend to stay within a safe range. There’s nothing here that feels risky or especially bold, which again contributes to that overall sense of the album being solid but not striking.

One of the more noticeable strengths of Crystal Blue is its consistency. There aren’t really any glaring missteps or awkward experiments that derail the flow. The pacing is steady, and the production maintains a cohesive sound from start to finish. It’s the kind of album you can put on in the background and let run without ever feeling the urge to skip ahead. But that consistency also works against it, because the highs never quite reach a level that makes you sit up and take notice.

There are, to be fair, moments where things click into place. A well-timed guitar lick here, a vocal line that lands just right there, these flashes hint at what Afterglow could achieve with a bit more adventurous songwriting or a willingness to push beyond the genre’s comfort zone. When those elements come together, you get a glimpse of a more compelling version of this project, one that could stand out rather than blend in.

The instrumental track included in the lineup offers a slight change of pace, giving Shepherd room to stretch out musically without the constraints of a vocal melody. It’s a nice addition and helps break up the album’s overall texture, though even here, the approach remains fairly restrained. It’s enjoyable, but it doesn’t quite become a standout centrepiece.

Lyrically, the album leans into familiar themes, relationships, introspection, and personal conflict, handled in a straightforward, unpretentious way. There’s nothing particularly groundbreaking in the writing, but it’s serviceable and fits the tone of the music. If anything, it reinforces the album’s overall identity as something designed to be approachable rather than provocative.

‘Better Days’ opens the album in solid, workmanlike fashion. It sets the tone with clean production and a polished melodic rock feel, though it plays things a bit safe. There’s a pleasant hook and some tidy guitar work, but it feels more like a warm-up than a statement.

‘Give Yourself Away’ is where things properly click. This is one of the album’s standout moments, with a stronger chorus and a more confident vocal from Celyn Chow. Jim Shepherd’s guitar lines feel more purposeful here too, adding a bit of lift that the opener only hinted at. It’s catchy without being overdone and easily one of the more memorable cuts.

‘I’m Never Going To Do It Again’ keeps things moving but doesn’t quite maintain that same level. It’s perfectly enjoyable, with a steady groove and decent vocal phrasing, but it drifts into that middle ground the album often occupies, competent, but not especially striking.

‘Love Can Kill You’ is the other clear highlight. There’s a bit more emotional weight in both the melody and the vocal delivery, and the chorus has that extra punch the rest of the album occasionally lacks. The guitar work also stands out here, with a few tasteful licks that add some real character.

‘What I See’ brings things back down slightly. It’s smooth and easy to listen to, but it doesn’t leave much of an impression. Everything is in place, but nothing really demands attention, making it one of the more forgettable tracks.

‘Get It Right’ follows a similar path. There’s a decent energy to it, and it moves along nicely, but again it leans heavily on familiar structures. It’s enjoyable in the moment without giving you much reason to come back.

‘The Reason’ feels a touch more reflective, with a slightly softer edge. Chow’s vocals get a bit more room to breathe, and there are moments where the song almost breaks through, but it never quite builds into something truly impactful.

‘Here I Am, Numb’ has a bit more atmosphere, which helps it stand out slightly from the surrounding tracks. There’s a moodier tone here that suits the album well, though it still holds back from going too far.

‘Same Old Song’ closes things out in fitting fashion. It’s consistent with the rest of the record, polished, melodic, and easy-going but like much of the album, it doesn’t quite deliver a lasting final impression.

In the end, Crystal Blue is a perfectly pleasant listen that does what it sets out to do without ever really exceeding expectations. It’s the musical equivalent of comfort food: reliable, easy to enjoy, and unlikely to offend anyone with a taste for melodic rock. At the same time, it doesn’t leave much of a lasting impression once it’s over.

For fans of the genre, there’s enough here to justify giving it a spin. The craftsmanship is evident, and the occasional highlights make it worth dipping into, even if it’s not something you’ll find yourself returning to frequently. It also feels like a foundation rather than a final statement, an indication that Afterglow has the tools and the talent to deliver something more impactful down the line.

So, while Crystal Blue doesn’t exactly blow me away, it does enough to keep me interested. It’s a decent outing with some genuinely enjoyable touches, and I’d certainly be open to hearing where Afterglow goes next.

6/10

Essential Track – ‘Give Yourself Away’

Review by Woody