Caparezza
Le Verità Supposte

Since "CapaRezza is convinced that even an idiot can review him on the internet, himself included," I am about to do so.
The second work of Caparezza starts well: "Il Secondo Secondo Me" is a good rap song (I don't say hip hop not to offend the proud b-boys, even if "rap" is a word that sends shivers down the spine due to how much it has been overused) that immediately reveals the merits of this artist. These include great creativity in rhymes, an incredible speed of execution (often favoring extrabeat rhymes), and a critical and corrosive view on Italian reality.

The start is truly promising, but as you continue listening, some discordances begin to be heard, particularly in the productions: scratches are almost totally absent (which is not necessarily a problem, it depends on tastes), and the bases are characterized by a contamination that in some tracks becomes really excessive.

One of the best pieces of the work is "Stanco E Sbronzo" for the interesting choice to use an accordion sample, but the decision in numerous other tracks to change the base just for the chorus, using a similar hard rock played riff to sing over, is not very convincing. The effect achieved is that the purity and unity of the sound of the individual tracks are lost, making the chorus seem a bit "glued on" (this happens at the end of "Limiti", then in "Vengo Dalla Luna", "Dagli All'Untore", "Dualismi", "Nel Paese Dei Balordi"). In essence, certain tracks end up seeming disjointed, composed, like Frankenstein, of parts coming from different songs, then stuck together at best.

Even the lyrics change after a while; while Caparezza's acrobatic ability to intertwine his rhymes remains unchanged (it is a real pleasure to listen to his unstoppable flow) in some pieces there are real drops in style, regarding the content. Better to clarify right away: for the undeniable skills and for certain content of the work Caparezza could be considered the Italian equivalent of Eminem (seriously, he's really good). However, he is preferable in the pieces where he looks without illusion at Italian social reality (for example "L'Età Dei Figuranti") or at the musical one ("La Legge Dell'Ortica") rather than when he indulges in pure goofing off, descending into bad taste (the "legalization of pussy", for example, is a concept that, aside from gratuitous vulgarity, sounds dangerously too much like Articolo 31).

Basically, two souls coexist in Caparezza: that of an implacable critic of the vices of contemporary society (not at all serious, to be clear) and that of a full-fledged joker (by his own admission: see "Iodellavitanonhocapitouncazzo"). Between the two souls, it is the first one that reaches the most appreciable results and is the one that, fortunately, prevails in the work. But the other remains and unfortunately, sometimes, overwhelms the first. And the result, in such cases, is not noteworthy.

In summary: intriguing flow, content sometimes a bit less, productions that occasionally also make you wrinkle your nose.