We’re delighted to announce the release of a Latitudes session by The Entrance Band, on 19th March.
This session was recorded just after the band’s appearance at All Tomorrow’s Parties curated by Animal Collective, and the three tracks laid down are absolutely the finest elixir produced by our favourite power trio. Fluid, emotional and organically multiplying grooves which can only fail to warm the coldest of bones as we follow TEB on a journey through acidified subterranean raga rock, serpent-charming drone, and crunked up psychedelic blues.
Released in an edition of 500 CDs and 500 vinyl only. The vinyl package includes 180gm yellow vinyl in a die-cut outer sleeve with a foil-stamped card insert plus liner notes insert. The CD is wrapped in a foil-stamped origami-style wallet and includes a liner notes insert. Both formats are hand-numbered.
Like so many musicians I end up falling for, I first came across The Entrance Band by happenstance. Guy Blakeslee, who was simply performing as Entrance at the time, was headlining a show with Daniel Higgs in New York. I picked up his Wayfarer Stranger album, and listened to his tranced out take on the standard “Darling” for the next couple of years, always rapt and locked in by his psychedelic take on traditional American music.
But it was 2006’s Prayer Of Death album by the newly expanded Entrance Band that became a standard go to record in the Southern office: its myriad directions and influence made it one of those long players that unites a musically disparate workforce and it became one of those rarest of gems: an album that everyone agrees on. Taking the same blues and folk idioms from his solo records and dressing them in Aquarian Age volume and distortion, The Entrance Band cemented their place at the top of our potential hit list for Latitudes sessioneers, should the opportunity ever arise.
Years down the line and a late night call from Todd Uzel, a former Southern employee and friend of the band, led to the fortuitous scheduling of this session. It turns out the band were fans of the Latitudes series and had a day off in London, and we swiftly confirmed things. When the band actually arrived at the studio we learned that Blakeslee was not only a fan of Latitudes, but of Crass, the band that kick-started Southern’s musical history (and still are part of the very fibre of us). And to top it all, he told us that his favorite recording of theirs was Ten Notes On A Summer’s Day – indisputably their most “difficult” record, and one that Penny Rimbaud had been remastering in that very control room just a few weeks prior.
It seems entirely appropriate to us that the TEB session and that very remaster of “Ten Notes On A Summer’s Day” should be released only a few weeks apart.
- New Orleans
- Requiem For Juicy
- Last Kind Words
Total Running Time: 27:34
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