Read the review in italian on Darkroom Magazine

Capricorni Pneunatici IX TAB emerges from the shadows of the late 1980s as a work that seems suspended between myth and sonic experimentation.
Recorded around the same time as the ritualistic atmospheres of early Current 93, the album presents itself as a journey into the depths of ancient and modern esotericism, an evocation of the Mayan goddess of ropes and traps, guardian of those who allow themselves to be swallowed by their extreme rituals. The album, originally distributed on cassette thru the more obscure channels of the Milanese underground, is a laboratory of unusual sound techniques: from the DX7 shaping eerie timbres to the Revox A77 used to manipulate voices and echoes, to glass bottles transformed into wind instruments and sine waves captured in the space between two speakers.
The result is a soundscape that seems woven from the same ritual strings of IX TAB, where each frequency carries a kind of sonic enchantment. The voices, attributed to an enigmatic entity called Soda Caustica, float between human and supernatural, while the cover, featuring glyphs and figures from the Dresden Codex, offers one of the rare visual representations of the deity itself.

The aura of mystery surrounding Capricorni Pneumatici – alleged ties to secret cults and references to Anton LaVey’s Church – amplifies the feeling that this is not just an album, but a ritual object to be observed and listened to with care. In IX TAB, every sound, every echo, and every rustle is an invitation to explore invisible territories: a meeting between Mayan esotericism and Western occultism, between ritual vampirism and medieval evocation techniques. It’s a record that leads the listener into a labyrinth of sound strings and arcane visions, leaving behind an aura of mystery that is difficult to dispel.

CAESAR