Jacula
Tardo Pede In Magiam Versus

Jacula: "Tardo Pede In Magiam Versus"

Three years have passed since Jacula's (so to speak) monumental debut, a group or rather a creature shaped by the diabolical mind of Antonio Bartoncetti (known as Antonius Rex at SIAE). It is 1972, and Bartoncetti, having graduated, must leave for the military: no, not before having released this massive album. His companions in adventure are Charles Tiring (68 years old at the time) who incessantly plays the pipe organ and Doris Norton who plays almost everything else (oh yes, Antonio Bartoncetti, except for the bass on the first track and some strumming here and there, doesn't play anything else).

Now, let's talk about the album, which compared to its predecessor, has become darker and almost psychedelic; Antonius Rex opts for the removal of the electric guitar and the introduction of new instruments like the violin, flute, and Minimoog. It begins with "U.F.D.E.M." nine minutes of dark litanies and macabre moog flashes where Norton tells us of a world in decay, where everything is now corrupted, where everything is now "polluted": the track is one of the highest points of Antonio Bartoncetti and his associates' entire career.

A quiet beginning of pipe organ leads us into the grim premonitions of "Praesentia Domini": gradually, the organ sound strengthens until it bursts into the heart of the song where an evil choir chants dark words in Latin; the finale is a cathedral-induced heart attack that leaves you drooling and your underwear soaked in urine. Followed by the "drugged" 3/4 of "Jacula Valzer", where the beautiful Doris Norton's voice whispers a lullaby with an instrumental flute chorus: even here, minimoog interludes are made to create an atmosphere, and what an atmosphere... The invisible forces tormenting Antonius Rex's mind (a kind of Italian Peter Hammill) take shape in the autumnal "Long Black Magic Night" where the phrases recited in halting (and toothless) English are surrounded by a beautiful melody of harpsichord, flute, and violin that somewhat recall the chamber sonatas of ancient times.

The gothic apotheosis however is yet to come: down the stairs of an old castle, passages now celebratory now demonic introduce us to the 9 minutes of "In Old Castle"; the track in question is a pure organ rambling where Charles Tiring can bring out all his skills on the keys until leading us to the final blow that closes a unique album, as are all of Antonius Rex's works.

The album just reviewed, is a full-blown mind-masturbation, so don't think it's one of those records to put on for a Halloween party and other nonsense. One must immerse in frequent and gradual listens, only then can it be appreciated, only then can one come to know the dark arts of the King.