Viy or Spirit of Evil Вий (1967)

For the past decade, Spirit of the beehive have honed an aesthetic like no other. They’ve chopped up samples, chewed them up, spit them back out again, baby birded it. Across four albums and a smattering of EPs, Zack Schwartz, Corey Wichlin, and Rivka Ravede have fully solidified their stance as some of rock’s weirdest and best deconstructionists. 2018’s Hypnic Jerks was a study in noise punk sampledelia. It was a breakthrough for the band. Frank Ocean became a fan, spinning “fell asleep with a vision,” on Blonded Radio. 2021’s Entertainment Death, was nasty dream pop by way of K-Mart realism and hitting the channel search setting on an old TV set.

Esoteric concepts need some sort of well-endowed platform to rise above obscurity. Temple of Evil believes in the summoning power of their latest sermon Apolytrosis—an ancient Greek term for the concept of redemption through sacrifice…

The new album of consort music for viols in five parts by John Jenkins comes from an ensemble who has already been awarded two Diapason d’Or for their previous recordings on Musica Ficta: The Spirit of Gambo.

Although released in 1971, the debut self-titled album by Spirit of John Morgan was actually recorded two years earlier, before the spirit of the '60s dissipated into the excesses of the '70s. But even back in 1969, the British quartet were already fish out of water, gasping for R&B in a Technicolor age of psychedelia. So they created their own, an entire album's worth of strong, shadowed, R&B numbers underlit by magnificent musicianship and powerful rhythms. The set opener, a menacing cover of Graham Bond's "I Want You," is a case in point, stalker-like in its intensity, with John Morgan's organ conjuring up a phantom of the opera from which there is no escape.

The chamber music on this recording was likely composed during the time Jenkins was living in the homes of the Dereham and L’Estrange families. Where Lawes 'music is often edgy and bizarre in character, Jenkins' compositions from this period are clearly intended to counterbalance the uncertain and risky circumstances that prevailed during the turbulent years of the Civil War. It's not for nothing that Andrew Ashbee, the great English Jenkins connoisseur, titled his book “The Harmonious Musick of John Jenkins”.

Keyboard player and vocalist John Morgan was a Graham Bond afficianado who turned toward psychedelia as the 1960's wore on. Billed originally as The Spirit of John Morgan, the band was successful enough to get booked into the Marquee and other top clubs, and cut three albums. Their self-titled debut into 1969 was followed by two more LPs in 1970 and 1972 (credited simply to John Morgan) for the Carnaby label. He also cut a single for British RCA in the early 1970's.

Finally! The new album by Quebec's most brutal old school Death Metal band is upon us! Album after album SPIRIT OF REBELLION is surpassing itself in quality and overall brutality but TIME FOR GLOBAL REFUSAL finally capture the band in his very best element… live, destroying a stage somewhere while on tour! On stage, SPIRIT OF REBELLION is In your face, captivating, intricate, demanding, all out crazy… and this is what you get listening to this masterpiece of an album but with the now usual impressive studio quality every SOR albums are known for… can you withstand the full blast of "Time for Global Refusal"? Death Metal album of the year… right here, right now.