Afterhours
I milanesi ammazzano il sabato

I'm sorry to start writing on DeBaser with a negative review, but I do it for the great love I have for Afterhours and what I consider my personal "intellectual honesty" towards the music I like. I've listened to the new work a lot, maybe too much, with the intent of discovering what I was missing, what I didn't understand. I tried to give technical explanations (bluffing with myself since I only listen to music, I'm not a musician) and sought justifications that I obviously couldn't find. I read reviews from "authoritative" magazines in the sector to ignobly let myself be influenced by prepackaged opinions (the one on Rumore was terrible). In the end, I gave up and came to the following "dramatic" conclusion: "I Milanesi Ammazzano il Sabato" is the result of a depletion of Manuel Agnelli's creative vein. In simple words, banal and irritating songs hidden by great production and splendid arrangements. Let's leave aside the discussions on experimentation and avoid mentioning Xabier Iriondo every time ("Quello che non c'è" and "Ballate per piccole iene" are splendid works), but let's try to admit that songs like "Tarantella all'inazione" and "E' dura essere Silvan" are ignoble, that the title track could be the song that didn't find a place in "Dentro me" by La Crus, that the final ballad dedicated to his daughter and "Riprendere Berlino" are highly not recommended for diabetics, that Manuel's falsetto is absolutely annoying (especially in "Dove si va da qui") and that the lyrics are too self-referential and often caricatured. Is there really nothing to save? "E' solo febbre" and "Musa di nessuno". Are Afterhours the best Italian rock band? Definitely yes, and they are widely confirming it on this tour.