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Capharnaum - Le Soleil est une Bombe Atomique CD (album) cover




Heavy Prog

3.55 | 6 ratings

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3 stars The catchy introduction tells about three bands, all three named Capharnaum, sharing a bit of space in the developed modern rock and preferential music space. If you're not intuitive or simply careful enough in what you pick, you might end up listening to some death metal of peppered but moronic quality or to a similar hard bash oriented act of music, with more baffled harmonics than usually; so the best is the third Capharnaum, special under its umlaut on U, but also by a better way of music in a contemporary time's promising and sensible effort.

Yet, almost as a symbol and a force the name has, the Canadian trio chooses a powerful tone of hard rock, intensifyied strength, a lot of devilish play (with arrangements they have in mind), mystic modern stretches or high-sunk groove ideas - progressively they stand still and desirable under alternative rock, nu-rock, modern punch, shoe-gaze and an experimentalism of dynamics. The mutual feeling (from a band with industry in its blood and high sugar in its head to a listener with some kind of focus and appetite for music beyond excitement) brings Capharnaum's solid album into a state of artistic shock (though its wobbling is perfectly ecstatic) and into a thrill of purified explosive state and cheap adrenaline manipulation - which integrates them in the modern wicked orientation in which the accessible pleasures are hardly existent or still in an approved touch; instead, the panic of excitement and acid twist is above finding progressive enchantment; Capharnaum, to finally end the analogies, plays powerful rock/metal/space sounds on the verge of disobeying forces and unleashing freedoms - whether good, obscure, clever or untypical.

As a modern prog lover you can find an over-putting size and a dastard strike in Capharnaum's elementary will of music, of power and of craft. In an obscure thought, it belongs to the modern mature feeling as much as it excludes many types of such distractions and engulfing influences. The caliber triggers the quality, which freeze in both a spectacular nexus, and a washed-away brute powder. For a starters, you get to be really excited by Capharnaum only if it open for you a chakra of values and absorbing feelings, being otherwise a raw and infusing steep-charm. Next, whether good and fantastically unadaptable, this album lies under electric, eclectic and mixed impression: it is very instrumental and hard-on-enormous, but resents light or sophisticated fruit loops; being therefore a dark and senile combination of rock atmosphere and rock arrhythmia; all its alluding messages seems a tragic or somber concentration, yet the trio composes in a boiling point of popular (meaning interactive), close-minded (meaning introspective), vivid and mildly aggressive rock intensity and math elaboration; the math rock punishing, ambivalent or independent art gives a lot of headaches concerning the deep play-scape and how refined that is meant to go, but so convincing is the idea that this alternative-wave music isn't for other tastes than those of a penetrating rock jam or of experimental trippy scythes, both being a particular persuation and possessive mark into the album.

Finally, this genuine creation is neither for the headbangers, nor for the pedantic art savorists; it is for the bright ears that have a complex tick and gloom of personality; this is a youthful and young material, mixing the crash of cymbals and riffs with some vicious and obscure poetry or vision, which perhaps makes everything a difficult music in a gallop of modern freshness and perdition.

And something more, about this clearly psychonavigational work with resumes rock/metal/alternative music into a hazard chemistry, I cannot find to say. I myself am not that thrilled about this particular pressure of modern math rock, and even think some parts of the composition addiction and the play fiber are simply musica lignea. But its progressive significance is undeniable and, under the skin of the standard, there are elaborate stipulations and infestations of music and motives

Ricochet | 3/5 |


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