– Kelly Cheng, Staff Writer
Back from scoring for Jane Schoenbrun’s hypnotic, eerie horror films (I Saw the TV Glow, We’re All Going to the World’s Fair), Alex G marks a luminous return with new single, “Afterlife,” setting the tone for what’s to come for his upcoming album, Headlights (set to release July 18th).
A Deeper Dive into “Afterlife”
Marking his first new release in what feels like an eternity, “Afterlife” captures the distinct sense of familiarity and estrangement that has defined much of Alex G’s discography, however, this time, there’s a glimmer of optimism cutting through the haze.
Built on a delicate bed of chiming mandolin and a glowing, organ-like synth that hums to life halfway through, this track is the perfect drop to mark the new era for Alex G. Alex’s vocals and falsetto here adds a fragile and almost childlike quality that is nostalgic yet hopeful, casting a surreal brightness over the track.
A Lyrical Search for Light
The lyrics for “Afterlife” blends a surreal yet familiar imagery with the emotional and spiritual, tracing a quiet transformation followed by revelation. The repeated chorus “When the light came / Big and bright / I began another life” lets the speaker reflect on past selves. The speaker saw themselves as once “a mockingbird,” and “not an angel,” yet now is able to position themselves as someone capable of healing.
In “Afterlife,” the lyrics don’t search for transcendence so much as they embrace the tangible, whether the speaker is rolling through tiger grass, remembering a horse, choosing to live fully in the now… It’s a haunting, poetic meditation on faith, identity, and the longing to mean something to someone.
The Evolution of Alex G
There’s joy in the sound of the song, but also, tension beneath it. “Afterlife” walks a line between existential pondering and youthful nostalgia, mirroring the same spirit found in God Save the Animals.
Yet unlike his earlier works, which are more melancholic and driven by Alex’s signature jangly guitars and minimalist production, this track leans into a newfound evolution. Following his scoring work for the iconic Jane Schoenbrun’s films (We’re All Going to the World’s Fair and I Saw the TV Glow), the cinematic weight they developed there is unmistakably present in the track, as well as its impressive accompanying music video.Comparing Afterlife to earlier albums like Race or Trick reveals just how much Alex G’s sound has expanded: what once felt lo-fi now feels rather widescreen and reflective. With “Afterlife,” Alex G proves once again that each new chapter brings something richer, stranger, and even more moving.
