With a day off in London following an All Tomorrow's Parties appearance, the Entrance Band stopped by Southern Records to lay down a Latitudes session. This ongoing series brings boundary-pushing bands into the studio to record material that hasn't yet been fleshed out completely or otherwise issued, and releases the results on limited-edition LPs and numbered CDs. the Entrance Band's heavy-as-lead three-song session captures the band in prime form and extracts the very essence of its dark drifter psyche vibes with minimal overdubs or production. Clocking in at less than 30 minutes, the set starts with the lengthy "New Orleans," an 11-minute canvas for guitarist/vocalist Guy Blakeslee's mangled wah-wah and delay-pedal lead guitars to stretch out in heavy storm clouds across the horizon. Rooted by the fluid bass playing of Paz Lenchantin and drummer Derek James' solid stoner-rock rhythms, much of the EP is a backdrop for Blakeslee's dripping psychedelic guitar work. The aforementioned "New Orleans" only sees the spare vocal incantation of "Please, darling, be careful down in New Orleans" repeated minimally, low in the mix like some pleading ghost talking to the damned. "Requiem for Juicy" is a completely wordless dirge of hypnotic drums and raga-esque slide guitar trance induction. The set is rounded out by an amplified and excessively dour cover of 1930s folk-blues number "Last Kind Words," originally written by Geeshie Wiley and Elvie Thomas but spun out like a ten-car pileup by the tumultuous Entrance trio. It's not so much sadness and desperation that make up the kind of blues that the group is shaking down, but an ominous darkness that touches every note. the Entrance Band's full-length collections often lose steam, but this micro dose captures the best they have to offer and stops short of overwhelming the listener with their heavy mojo. Review by "Fred Thomas" (www.allmusic.com).
RATING: 7.75 / 10
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