Pound For The Sound,
CapdownAmidst the furore surrounding Capdown's simultaneous signing to BMG, Sony AND Universal, their countless expensive videos and attempts to court both the singles market and the mainstream press, and the constant rumours surrounding their private lives (the infamous 'Boob and J-Lo one...), the fact that they're capable of making some stunning music with a strong message somehow got lost. Their second release on Household Name came out a couple of years ago, but I thought I'd take a trip back down memory lane. For indulgence's sake.
You know when you make mix tapes and the first song is always the most important? One which starts deceptively, then proceeds to totally raise hell? Well 'Faith No More' is just that. Opening the album in a smooth burst of Jake's sax before going into a perfect ska line which combines with the chugging guitar to create that authentic Capdown sound. I suppose it's not massively adventurous as far as musical experimentation goes, but it doesn't need to be. It's passionate and infused with a social conscience thatthe people in charge of this country would do well to take note of. The skacore sound is continued in 'What Doesn't Kill You', which is augmented by a tempo change mid-chorus and Tim's frankly machine-like drumming throughout.
The band press the button marked 'ska' more heavily on 'Strength In Numbers' and the more guitar-based 'Judgement Days'. Jake's distinctive voice sometimes makes the lyrics intelligible, but it made me purposely seek them out in the inlay. Capdown's albums always seem like a double-edged sword - quality music with a pertinent message behind it which never sounds trite or recycled. You get the sense that with the sheer ferocity that they play with and the blood and sweat that pervade the tracks is so evident that it adds a kind of watermark of genuineness.
'An A-Political Stand Of Reasons' contains some of the best lyrics I've heard for ages, and mixes them with a ska-core track that veers from all out ska to an abrasive, harsh hardcore sound that manages to swerve from the two extremes into a middle ground halfway between them. Fanbloodytastic, basically. 'Time To Get Out' follows in a similar vein, and Keith's guitar takes the lead here, in a frantic race between chugging power chords and fast riffs.
That distinctive "wakka wakka wakka" bit that everyone loves is present and correct on the title track. It's probably the best all out ska track on the album, and is a lot slower paced than many of the rest of the tracks. That's not to say that it doesn't have the same urgency and power that the others do, just a different approach to the same goal. Best moment of the entire album is the metallic squeal of artificial harmonic towards the end - just perfect. 'Dub #2' is an instrumental skacore track that just keeps building and building towards an irresistable climax at breakneck speed. The half-beat drops between sections break it up perfectly and having heard it performed live I can say that the sheer tightness of the band is to be marvelled at.
The fast-slow forumla is exercised to great effect in 'Progression Vs Punk Rock', yet another example of the awareness that Capdown hold when observing their contemporaries. The chorus has a definite ragga lilt which leads into another crunching riff, and '6/8/1' concludes the album in a hail of squealing guitars and shouted epithets. Class.
I know not everyone likes Capdown, but I do believe that they deserve to be admiredand respected for what they do. This album is an eclectic bunch of songs, and I really cannot wait to see where they go from here.
Ben
