Capricorni Pneumatici - The Erivar CD

“Historically, Italy is home to not only a large number of respected industrial /noise projects, but also wider experimental music in general. One such project is Capricorni Pneumatici, which has been active since 1987. This is a duet of two musicians, hiding under the names of Pazuzu and Soda Caustica. The project plays gloomy music on the verge of ritual ambient, drone and concrete music.
The cover of the album is made in blue tones. On a blurred blue background is a pale blue medieval picture of a lion’s head with open jaws, in which there is a tied man. At the top is the name of the project, done in pale blue with a simple font. At the bottom of the cover is the album’s title The Erivar, written in the same font. On the turn of the two-page booklet is depicted a snake-like dragon, trying to swallow a human-like caudate creature, which is in some sort of cocoon or ellipse. The drawing is also made in medieval style. On the back of the booklet is a list of songs and various other information. The back part duplicates the last page of the booklet.
The album consists of eight tracks of different duration. The total time of the album is just under an hour. It is worth noting that tracks three and seven, have participation from one of the more famous names with experimental scene Z’EV, who recently left this world…. Of course, I was interested in these two tracks, but about those a little bit later.
So, the album begins with the almost five-minute composition “Inside Mother”. Atmospheric pulsating metal Drones are supported by a long lingering vocal and rare ritual blows … A Very interesting atmospheric beginning of the album.
Next is the track “The Erivar”, which is the longest track here – just under twelve minutes. The tracks constructed around creaking of bass strings, a distant low hum, a metallic grinding noise and a rumbling sound like a low-tuned cello or double bass create an eerie and disturbing atmosphere. Closer to the end, tension builds up, but almost at the very end, everything calms back down.
The third track is called “Ode to Fortum”, and it was recorded along with Z’EV, who also did the processing of this track. It is worth noting that the tracks made in co-authorship with Z’EV were recorded in 2009, while the rest of the tracks were made in 2014-2015. Naturally, I expected a big difference in sound. My expectations were justified. The track sounds more raw, it’s almost Noise, saturated with delay and reverberation. It is difficult to single out individual sounds, all squeaks, tapping, and drones merge into one background droning noise.
The fourth track, called “You Are Four And Magic”, in many respects repeats the string sound of the second track but is more relaxed, and there is also a high male vocals, the manner of which is similar to a spell or mantra.
Then comes the shortest track of the album. Its duration is just over four minutes and it is called “Mon Fordon”. We hear reversed rhythmic metal drones, into which, in the course of the composition, a higher hum and a slight rustling and tapping are intertwined. This is the most ambiguous track on the album. It seemed somewhat boring and synthetic.
The sixth track, called “Ohyf”, is almost ambient with a touch of Drone. By sound, this track is close to Ode to Fortum, which was made with Z’EV, but not so overloaded by Delay and has a more transparent and rich sound. The seventh track “Ord Traditori” was also recorded and processed together with Z’EV in 2009. Naturally, I expected to hear a more raw sound, similar to the second track. But I heard a crystal clear sound. It’s a dark Dark Ambient with low drones and creaks. There is an ominous voice of an indefinite sex, which very emotionally recites the text unknown to me in French.
The last track is called Cyngus Olor is a kind of Outro. It’s pretty simple stringed drone, resembling the sound of Indian tanpura.
The whole album left a very pleasant impression on me, despite the second track that broke out from the general style, as well as a short but somewhat boring fifth track that could have been possible left out. My favorite tracks are “The Erivar” and “Ord Traditori”. As a result, we have a good conceptual work in the style of acoustic Drone / Ritual Ambient, which I’m sure I’ll listen to again.”-Musique Machine
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