Everclear So Much for the Afterglow 180g LP

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Double-Platinum Alt Rock Classic! Billboard's Modern Rock Artist of the Year 1998

Three Top Five Hits: Everything to Everyone, I Will Buy You a New Life, Father of Mine

The very title of 1997's So Much for the Afterglow announced that Everclear would address head on the swelling expectations established by the breakout success of 1995's Sparkle and Fade. The tunes sketch out this theme completely, with songs like "One Hit Wonder", "White Men in Black Suits" and of course the title track, "So Much for the Afterglow".

So Much for the Afterglow is the rare follow-up that bested the original in both critical acclaim and sales, going double platinum, yielding three top-five hits and landing the band a Billboard Modern Rock Artist of the Year award in 1998.

Everclear remains one of the few elite acts to emerge from the post-Nirvana grunge explosion, rockers that could not only match the crunch and aggression of Seattle's finest, but the hooks and emotional honesty. Everclear's Art Alexakis wrote songs that were a mature but hard rocking brand of power pop with gritty, achingly true lyrics about addiction, failed relationships and loneliness.

Mastering Notes:
Everclear's So Much For the Afterglow was captured on analog master tapes, but never fully assembled in the analog domain. That means choosing the final mixes, sequencing, crossfades, etc. was performed only in the digital domain, which in a real sense means no analog master exists of the final album. Universal archived the original tapes in high-resolution digital and supplied IR with specially prepared flat 24-bit/96kHz files for compatibility with Cohearent Audio's 24-bit capable Pacific Microsonics D-A conversion system and what notes were available regarding which files contained final mixes, sound effects, crossfades, etc. Cohearent's Kevin Gray and IR's Shane Buettner then spent painstaking hours running down the title comparing the files to the original Capitol LP to ensure final mixes and sequencing, crossfades, sound effects and properly space the time between tracks.

Sonically, So Much For The Afterglow is now better than ever before, with true timbres and textures, a much more expansive soundstage, no dynamic limiting/compression, and unsurpassed musicality and listenability. A '90s alt rock classic brought to new life!

The Lost '90s Series:
A driving passion at IR is bringing music from the dark days of the CD era to glorious new light and life on premium vinyl. So much fantastic music from this era either never saw a vinyl release at all, or saw only a very limited and all too often low-quality release ripped from CDs without much care. During that era even if the original capture was to analog tape it was often ripped to digital and loaded into workstations for choosing final mixes, sequencing and final assembly. If vinyl was released during this era it is more than likely sourced from CD files. For releases that were never assembled in analog or were fully-digital recordings IR acquires and masters from high-resolution 20-24-bit files and if needed assembles final mixes, cross-fades, etc. during mastering. The increase in musicality and purity is as exponential as the increase in bit depth! Combining superior master sources with the truly full-range mastering chain at Cohearent and Gotta Groove's dead quiet vinyl pressing results in hearing the music that was the soundtrack to our lives like never before!

Kevin Gray's vinyl remastering throughout So Much for the Afterglow brings out more clearly small details that help open up this music. It's easier to hear that the guitar riff that begins 'White Men in Black Suits' is double tracked, and Alexakis's guitar triplets behind the vocals sustain longer and have more sparkle. The guitars in 'Sunflowers' sound less insistent but more expansive here, and it improves the song. The acoustic instruments in 'Why I Don't Believe in God' sound more natural, and Eklund's snare is not as aggressively bright.