ALBUM REVIEW: The Mosaic – Capstan
The Mosaic is home to some of CAPSTAN’s most diverse work to date. The album is a tumultuous yet incredibly powerful ride from start to finish, featuring everything from post-hardcore aggression to pop-punk-esque ballads, electro-infused vocals, and even orchestral pieces. With 18 tracks it’s certainly no small undertaking, but while it might seem daunting to listen to at first, at no single point does it ever feel over-extensive or monotonous. This is in part because the tracks continually contrast with one another, but mainly because the album is just so good.
Despite its incredible versatility, The Mosaic doesn’t feel randomly put together. Instead, it sounds exactly like its name would suggest – a carefully assembled mosaic that creates one big picture in the form of an album. What CAPSTAN have created here is artwork in sound form, and while there are some moments that might feel like a tug of war between heavy and light, it always works well. The opening track, I. Revolve, sets the stage with an atmospheric build-up before launching into Misery Scene, which demonstrates a perfect blend of aggression and melodic elements to highlight CAPSTAN’s true post-hardcore roots.
Undertow, featuring THROAT, combines intricate guitar riffs with raw, powerful screams, only to transition right into the contrastingly acoustic An Open Letter. This track in particular stands out for its lyrical intensity, and acts as the most stripped-down offering on the album. Some of the other more gentle moments on the album include Bloom and Dwell, which wouldn’t sound too out of place on MAYDAY PARADE’s A Lesson In Romantics (2007). Bloom is a beautiful first departure from the heavier tracks of the album, featuring piano solos and an incredible vocal performance from vocalist Anthony Demario.
What You Want diverges even further, venturing into 80s synth-pop territory with a much poppier sound. It features vocals from BROADSIDE’s Oliver Baxxter, before finishing with a saxophone solo that’s lightly reminiscent of THE 1975 in all the best ways. From this, the album moves straight into II. Revise, which continues with the synth and electro elements before heavier and more powerful guitar riffs creep back in. Despite this being a crazy mix of sounds in writing, it makes a pretty pairing in reality, and the transition feels natural.
Compendium is an orchestral instrumental piece mirroring the melody of the previous track, Arrows. It adds a true cinematic quality to the feel of the album, while Arrows, featuring TRASH BOAT, is a true stand-out that tethers the album back to its core sound. Tracks such as Bête Noire and Moloch are among the album’s heaviest, however there are still moments of genre-shifting throughout. Bête Noire features soft violin before showcasing some of the album’s heaviest vocals, while Moloch features an impressive guitar solo. The transition from these heavy hitters to What Can I Say? is the most dramatic of the album, with What Can I Say? featuring a banjo – a stark contrast from the screams demonstrated in Moloch. It’s the perfect example of The Mosaic’s versatility and the most prominent switch from one sound to another.
The album finishes up with a 10-minute finale in the form of III. The Mosaic. This track really brings the entire album together, encapsulating all the different musical elements showcased throughout the record. It feels like the overall summary of the album. The heavier segments echo the energy of tracks like Misery Scene and Bête Noire, while the softer moments reflect the emotional depth of Bloom, An Open Letter and Dwell. The orchestral and electronic elements tie back to the sounds of Compendium and What You Want, respectively – a powerful conclusion to an album that thrives on its diversity.
Rating: 9/10
The Mosaic is out now via Fearless Records.
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