180 Gram Vinyl - Limited Edition Lenticular Cover. Silver-Tongued Colored Viny. California, 1972. While Anton LaVey held court at his Black House in San Francisco, issuing pronouncements and recording The Satanic Mass for a growing cult of devotees, a more obscure ceremony was being committed to tape somewhere in Los Angeles. No press releases. No magazine profiles. No celebrity weddings or baptisms for the cameras. Just a man named Robert Jamra, an unknown organist, and a series of rituals so bizarre they would remain virtually unknown for decades.

The Second Coming is one of the strangest documents to emerge from the early 1970s occult underground - a privately pressed LP of Satanic invocation that makes LaVey's theatrical productions sound like Sunday school. Where the Church of Satan's founder understood the power of media spectacle, Jamra seemed to operate in genuine shadow. The record appeared with no fanfare, pressed in minuscule quantities, its creator a cipher who would die in Los Angeles in 1980 at the age of 43, leaving behind almost no biographical trace.

What remains is the recording itself: 38 minutes of unhinged ritual oration, organ drones, and ceremonial theater. Side one, titled Armageddon, unfolds as apocalyptic proclamation. Side two descends through Initiation, Sacrifice, and Satanic Truth - a triptych of increasingly intense invocation culminating in a ceremony described on the original sleeve as "a new bride offered and accepted by the Devil, leaving this orgasmic ceremony and consummation bookended by unhinged diatribes and outlandish pageantry."

An uncredited female voice participates in the rites. The organ - played by a musician whose identity has never been confirmed - provides a droning, ecclesiastical foundation that inverts the sacred music of the church into something genuinely unsettling. The sound engineer, Dennis Sands, may be the same Dennis Sands who would later win Academy Awards for his work on Hollywood blockbusters - a detail that adds another layer of mystery to a recording that seems designed to resist explanation.

References have been found linking Jamra to the Church of Satan's Los Angeles operations, but the nature of his involvement remains unclear. Was The Second Coming a serious document of ritual practice, or an elaborate piece of occult theater? The ambiguity is part of its power. Unlike LaVey's media-savvy Satanism - philosophy as showmanship, transgression as brand - Jamra's record feels like something that was never meant to surface. A transmission from a ritual space that existed outside the public eye, captured on vinyl and then left to disappear.

For collectors of occult recordings, outsider audio, and the stranger corners of American religious expression, The Second Coming has long been a holy grail - original copies commanding serious prices when they appear at all. This first authorized reissue presents the complete recording in a deluxe edition befitting its legendary status.

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