In Cauda Semper Stat Venenum by Jacula is a remarkable case of historical forgery. The album is dated 1969 but the sounds are, upon close examination, artificial and probably date back to the '80s. The late Antonio Bartoccetti, on the other hand, was always a deceiver. His projects have always been shrouded in an aura of mystery, and it hasnât always been easy to understand what was behind them. It was said that Jaculaâs albums were intended for monasteries (I would like to know if itâs true, anyway I wrote a story on the topic). When I reviewed the book âMagister Dixitâ he wrote me directly saying I should âdwell more on the subject of demonic possessionsâ. In fact, according to him, he was in contact with a girl who had undergone an exorcism. In reality, "Tardo Pede In Magiam Versus" (this one is authentic) was sold together with the Jacula magazine, the porn-horror comic. Some claim, even regarding âTardo Pede In Magiam Versusâ, that the quality of the music was mediocre. I disagree with these assertions: at the time the album was very original: there was no drums and the sound was characterized by a beautiful church organ and beautiful gothic atmospheres. The situation changes instead with this "In Cauda Semper Stat Venenum": the Tony Iommi-style guitar sounds are fake and everything smells of deceit. Despite this, I read online reviews that praise it as a masterpiece of sick and sepulchral sound. Couldnât be more wrong. But it doesn't end here: the lyrics are Italian translations (as attested by some enthusiast) adapted from excerpts taken directly from âIn The Court Of The Crimson Kingâ by King Crimson and âPawn Heartsâ by Van Der Graaf Generator, which are later than 1969! Itâs hard to believe that Peter Hammill and Pete Sinfield wrote the lyrics for In The Court and Pawn Hearts by translating Jacula's lyrics into English. There are cases of this kind but here we would be beyond ridiculous. The album is, in every respect, a remarkable case of backdating.
Hereâs a small example:
Jacula, 1969
Solo, sei solo
gli spiriti in coro chiamano,
mi abitano nella notte,
la sola vita che sento è la presenza del divino
Van Der Graaf, 1971
Alone, alone the ghosts all call,
pinpoint me in the light,
The only life I feel at all is the presence of the night.
Jacula, 1969
So che non câè tempo,
so che non câè nessuna rima,
veri segni trovatemi
Van Der Graaf, 1971
I know that thereâs no time,
I know that thereâs no rhyme,
false signs find me.
Bartoccetti manages to invent a sick, decadent, and dark sound, absolutely ahead of anyone else.
Despite the heaviness of some passages, it can rightly be called a masterpiece of dark, or dark-gothic if you will (...weâre in 1969!).