Jacula
Pre Viam

The return of Jacula, the occult creation of Antonio Bartoccetti, a charismatic figure of the Italian dark-prog scene of the '70s and a true precursor of dark and satanic themes, was undoubtedly much anticipated. In Cauda Semper Stat Venenum (1969) and Tardo Pede in Magiam Versus (1972) are genuine cult objects, albums that at the time were printed in very few copies and sent to monasteries and religious sects. After the group's disbanding, Bartoccetti would continue his musical career under the name Antonius Rex, conceptually persisting with the dark symbolic themes of Jacula. Jacula's music was innovative, characterized by the gloomy atmospheres of the pipe organ played by the great Charles Tiring, the absence of drums, and the "Sabbath-like" guitar riffs of Bartoccetti, as well as the texts recited in Latin and the voice of Doris Norton. At times, Jacula's sound recalls the soundtracks of Italian horror films by directors like Mario Bava and Riccardo Freda.

In Pre Viam, whose anagram means vampire, Bartoccetti's son Rexanthony features on keyboards. The sound, compared to the early LPs, is cleaner and more modern, with much attention given to production. I must say that, unfortunately, the genuine dark and gothic atmospheres of the origins are lost, even though the compositions are of a good standard and at times recall the ancient glories. Particularly noteworthy are the menacing title track, characterized by a beautiful acoustic guitar opening, followed by dark keyboards, sepulchral choirs, and a dark female voice that continuously recites "Oh sir it can't be." Another standout piece is "Deviens Folle," marked by a magnificent gothic and classical piano, while less convincing is "Blacklady Kiss," where Celtic new-age atmospheres prevail. Truly disturbing is then the final track "Possaction," which features the recording of a real exorcism where the anguished screams of Sandra B, a girl who later committed suicide, can be heard. There is also a video ("Veritates") where Bartoccetti reveals his personal truths. It remains to emphasize that while it is a good album, it is also, at least in the writer's opinion, a missed opportunity. Throughout his career, Bartoccetti has had enviable artistic integrity—though I still prefer the material from the '70s—and has demonstrated a conception of art that goes beyond the musical aspect to become an occult and supernatural experience.