A text explains: ‘Recorded in an underground location containing vitrified cement tanks’; it is further specified that the capacities of these tanks varied: some enormous, others smaller, and that they had openings both above ground level and below at depths of five or six meters, resulting in a truly unique …

Nell’ambito del post-industrial, versante esoterico, non solo italico, i primi due lavori di Capricorni Pneumatici hanno notevole rilevanza. Le cassette erano complementari, uscirono entrambe nell’87 per la propria 666, e ospitavano le sessioni che il duo milanese aveva esperito all’interno di un luogo sotterraneo chiamato The Cave, in due giorni …

With a project name taken from a book by Aleister Crowley and an instrumentation consisting of compressors, PVC pipes, hammers, buckets, water, steel, aluminum bottles and all kinds of metal and plastic junk, we do not have to make a drawing that Capricorni Pneumatici does not produce everyday sounds. … …

“Banging around in a massive concrete tank is about as industrial as a motherfucker can get. Incredible use of field recordings turned into something more tangible and composed. Also impressive, this dates back to 1987, yet holds its own if not surpasses most modern attempts of a similar design.”

… Here, the recordings were made in an underground assembly of cement tanks that serve not merely as a backdrop but as an integral component of the sound. The tanks varied in size and were equipped with openings above and below ground level. This architectural peculiarity provides the album with …

… In the abyssal darkness of the underground memory of the ’80s underground, the primordial echo of Al-Azif, the second work by Capricorni Pneumatici, still resonates. A work steeped in mystery and allure, recorded in a secret place, a kind of cathedral of underground sound, where vitrified concrete conceals the …