Afterhours
Non è per sempre

THE REVIEW

With this album, Afterhours choose to explore the pop vein discovered with the previous album that led them to write a masterpiece like "Rapace".

The dark and electric atmosphere of the album is foreshadowed by "Milano circonvallazione esterna". It is an undeclared cover of Suicide's "Ghost rider", but in my opinion, it highlights once again the band's skill, because it shows how you can copy someone else's song while letting your own personal talent shine.
The credit is once again due to Manuel Agnelli's claustrophobic and hallucinatory lyrics, which, with his charisma, make this track one of the magical moments of the live performance.

Sweet melodies pass through the album but are everywhere infected by visionary lyrics ("Oppio", "Oceano di gomma") seasoned with irony and cynicism, now a trademark of the group.
Within the album, a significant place is occupied by pure and simple noise: that of Dario Ciffo's electric violin (never so highlighted), that of Xabier Iriondo's guitar pedals, those of tapes filled with sounds and noises inserted within the tracks, and everything that was used to scratch and tear apart the 13 tracks.

"Non è per sempre" is the most challenging album by the Milanese band. The transition happening within the group is perceptible, squeezing the different souls that compose it.
Guitarist Xabier Iriondo seems trapped in the melodies written by Agnelli so much that in the episodes where he has more room, he vents brutally ("L'estate"), launching noise-laden solos that engage and amaze even the most savvy listener. It is his last work with Afterhours, but it's also the album that most asserts his personal and creative way of playing the guitar, beyond conventions and norms.

Once again, Afterhours present a high-quality work, whose only fault is to follow two unattainable albums like "Germi" and "Hai paura del buio?".