Caparezza
Habemus Capa

After the now canonical three-year break, Caparezza's third work is released, probably the most interesting hip-hop artist (and not only, given the rock and electronic influences that predominate in his works) of the last few years in the Italian music scene. His music, openly not accessible to everyone, is instead a super fast rap, defying every metric rule, with wordplay and rhymes igniting every second accompanied by a sound that becomes more and more rock, with the use of distortions and live-recorded drums becoming more frequent. Has Caparezza produced his second masterpiece after Verità Supposte? Let's see...

The album opens with Mors Mea Tacci Tua, the intro that connects the work to the previous album and briefly introduces the basic concept of the album, which Caparezza has openly written imagining himself to be dead. The first full-length track is Annunciatemi Al Pubblico, a good piece probably with a political background in which Caparezza aligns himself with the figure of the deceased pope Woityla. The song, dominated by a very engaging chorus, is quite interesting but perhaps in the long run could be one of the first to tire. Torna Catalessi, the second track, with gloomy tones and an almost clerical chorus, is a nice piece, let's say on the same level as the previous one. The fourth track, Gli Insetti del Podere, is one of Caparezza's classic "kicks in the ass" to politics, which with his wordplay perfectly denounces the Berlusconi government, accompanied by a truly well-crafted base and a bassline as simple as it is decisive. In the fifth song, Dalla Parte Del Toro, Caparezza compares himself to a bull in the arena with a matador, imagining a possible victory for the bull (on which he constructs the "perfect" chorus truly worthy of praise); the song is one of the more rock-driven ones, with an almost metal distortion; Ninna Nanna di Mazzarò, where Caparezza brings up the famous Mazzarò by Verga to once again denounce Italian politics, is one of the most original and complete tracks on the album, with a truly "wonderful" chorus and a vocal line that never tires and immediately sticks in your mind despite its truly remarkable difficulty of execution.
Il Silenzio Dei Colpevoli is a song that closely recalls the style of the first album, combining it with the new rock influences, and with a quite engaging chorus and a rap style "Chi Cazzo Me Lo Fa Fare" it immediately captures the listener. The first single, La Mia Parte Intollerante, is truly a good piece, perhaps the most commercial of the album, but it works really well. The rap loops are stunning and immediately stick from the first listen, while the almost techno base is on the edge of entertainment. Excellent the almost lyrical chorus style "La Fitta Sassaiola dell'Ingiuria." Inno Verdano, the following track, is a piece against the Lega Nord, really well constructed, with all the classic rhetorical skill of Caparezza brought to light, managing to combine breathtaking wordplay into sensible and impactful phrases. Epocalisse is another wonderful piece, which denounces all the scandals that have happened from 2000 onwards with a truly impactful two-voice rap; I won't waste further words on this, just listen to believe.
The Auditels Family, with the same theme already seen by Caparezza in "l'Età dei Figuranti," almost seems like a copy of Annunciatemi Al Pubblico concerning the rhythmic component, but then flaunts a simple but effective chorus, saving the song from being the likely worst of the album. Ti Giri, where Caparezza clearly highlights the tricks behind Italian news broadcasts, is a really well-crafted piece, with the rap that has always satisfied us combined with some more underground elements of the independent Italian rapper scene. Titoli, a track with an almost techno base, dominated by impossible-to-imitate vocal lines, really moves the listener to the extreme, but perhaps due to the difficulty of understanding, it risks becoming boring to many. Beautiful chorus. Felici Ma Trimoni, where Caparezza combines his very intricate phrases with his immense speed that he has showcased at other times, is the least cared for and complete piece of the album, it almost seems to lack that attraction that other songs have, but it still remains catchy. The penultimate track, Sono Troppo Stitico, is a classic rap song that we can also hear from other Italian and non-Italian rappers, and it manages to stand out a bit with the chorus. The song is still interesting, and once it gets in your head, it's really hard to get out. The concluding song, also a bit more classic, beautifully ends the album with a nice chorus, although it could really become boring in the long run. It doesn't, therefore, belong among the gems.

Finally, the album is really interesting, recommended to great fans of the rapper and also to those who want to listen to serious rap with interesting themes, very difficult to find with today's commercial wave that has also destroyed this genre, always autonomous from this perspective. The album is therefore slightly below the grand "Verità Supposte" but remains at high levels, with truly amazing tracks and all the others still more than sufficient. Recommended.