An extremely obscure artifact from the prog-rock era - something like only 80 copies of the original album were pressed - recorded by an occult-obsessed trio, with nary a guitar in the lineup, by the way. Just keyboards - and we are talking about a harpsichord - drums, and bass. This album is roughly what would happen if Iron Butterfly or Vanilla Fudge got transported back to the early 20th century and decided to start singing about the occult. The songs are interesting, too. This is an album about good and evil, except here the protagonist wants evil to win. Well, that is not quite correct - rather, he wants something more realistic than what he perceives as the BS he's been fed about being good and Christian and all of that, and wants something more out of life. This is more like viewing the occult as an awakening. So, throughout each of these six tracks this back and forth plays out, and by the time "In a Token of Despair" winds down its' tortured final notes, one gets the feeling the battle itself has worn down the host once and for all. Re-issues present two quite straight tracks tacked on at the end of this maelstrom ("Lady Ladybird" and "People in the Street") which were cut the year before, as if to prove they had enough piano-racing talent for honest-to-God pop chart ambitions, except they really didn't.