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Rating: When it was released, I remember I was a bit stunned. After the enthusiasm of "hai paura del buio?" which had recruited me as an "afterhours" fan, I had partially appreciated the pop twist, however contradictory, of "non è per sempre."
“Quello che non c'è,” a few years after its release (and the initial rushed judgments), I really like it and I'd say that if it weren't for the really dull production, I would place it among the highest peaks reached by the Milanese group.
In summary: songs rating 5, production 3. The production, then... probably Agnelli's choice to give a cut somewhat songwriter-like and expansive to the mood of the album, perhaps due to the lyrics no longer in cut-up form but never so autobiographical and direct, has sidelined Prette's otherwise rock drumming which struggles to emerge throughout the album. And in my opinion, it's a real shame because there are also hard, guitar-driven tracks that perhaps deserved a more aggressive sound. Degustibus... Lead vocals in the foreground, electric viola weaving the musical textures in place of guitars in a completely unconventional manner which makes "bungee jumping," "sulle labbra," "non sono immaginario" great, immense. The atmosphere is gloomy and even the cover doesn't promise anything good but the vocal performances of Agnelli and his caustic and irreverent vein manage to set things right.
“Quello che non c'è,” is a Battisti from space odyssey and in the other big ballad, more lightweight and pop at least in melody, "la gente sta male," it's like listening to Bowie from the '70s. The best Bowie! "ritorno a casa," finally brings a bit of light. Agnelli, super confidential, changes the game and attempts an experiment, here hugely successful, and unfortunately never tried again, of the declaimed style alla Massimo Volume. The reference is obligatorily directed to his friend Clementi, but the final result is afterhours 100%. An album many have defined as transitional but if only there were more transitional albums around.
Perhaps the only thing in transition is the soul of Manuel Agnelli which torments, angers, entertains, and moves to tears.
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Other reviews
By nadir
His departure allowed both a reassessment of the situation and a fresh start with new enthusiasm.
For the first time, the group abandons irony... and in comes the thinly veiled melancholy that permeates the title track.
By the clash
‘Quello che non c’è’ is a completed art form to not push even further into the abyss and a hymn to lost hope but also an act of strength of great humanity.
It has the charm and power to awaken minds long, long numb.
By Supernova
"Quello che non c’è turns out to be definitely the most SAD album of Afterhours."
"The allegories present in previous works fall away, leaving room only for immediacy, raw and sharp, and for protest, be it social or individual."
