"The Entrance Band's new music is the most alluring and, yes, entrancing vibe I've yet to experience in this new age. A soundtrack for the new groove" - THURSTON MOORE

LA TIMES
"Their music creates the feeling that something fresh and powerful is afoot. A potent mix of
political mindedness -- including a few conspiracy theories -- and musical virtuosity,
their songs throb and wail and strive to open minds.”

WASHINGTON POST
"The Entrance Band plays apocalyptic psych-rock that is so good it will make you welcome
the end days with open arms, as the guitars menacingly swirl in the background and the
drums echo the sound of the four horsemen."

THE FADER
"Some dudes play guitar solos, Guy Blakeslee shreds. In The Entrance Band,
along with Paz Lenchantin and Derek James, he’s reined it all in, harnessed the guitar
magic to ridiculously tight drums and bass and turned the whole thing into much more of
a group effort. Who knew we’d be able to dance to half of this album and imagine taking
acid to the other half?"

THE STRANGER (Seattle)
"The Entrance Band play tempestuous psych-blues songs that often tilt toward the epic.
Blakeslee's serpentine riffing and fists-shaking-to-the-heavens vocals attest to rock's
reputed redemptive power."

RCRDLBL
"Listening to their music is like sojourning into a cactus field at midnight with nothing
but a jug of wine and some Gun Club records."

BALTIMORE CITY PAPER
"The Entrance Band, has honed itself into a rock-solid, mass-appeal beast that could shake
the White Stripes from their throne. "M.L.K." is both breathtaking and soul satisfying in
its massive, alluring riffs (every song has a thick, ringing riff for, like, every day of
the week); simple, reverbed-out vocal hooks; and crystal clear populist message:
"Hey, there's a reason I sing/'cause I want to hear freedom ring/ and I'll remind you all
of one more thing, remember Martin Luther King." The cloud-scraping chorus hook of
"That Is Why" could tame a lion; "Sing for the One" chugs along in a grubby stoner-rock
roil; "Hourglass" sounds like it could fucking own an arena, complete with Jumbotron shots
of Blakeslee shredding like some newly anointed high priest of rockdom.
Basically: watch out."

L.A. RECORD
“Headlining that night was The Entrance Band. Not missing a beat, their set seemed to
explode from the moment the members took the stage, with a fierce combination of
psychedelic, blues, and rock. It almost feels like a Martian attack on your soul,
especially as Guy Blakeslee’s vocals reach their coda-like watching the sky opens up
for the birth and death of an actual star accompanied by his beyond stellar,
words fail me, wicked-sounding guitar, giving proper due to Steve Vai and Zappa for
us youngins. Bassist Paz Lenchantin’s thunderous sonic mind fuck comes via a much
needed catharsis by her instrument. She maintains the same amount of attention as the
rest of the heavy elements, while the orchestration still makes you feel cleansed and
free. Please do yourself a favor this summer and get lost in this bands mystique.”

Lumerians are garage scholars of the weird. The Oakland-based quintet could be named for Lemuria, the long-lost sunken continent ruled by primitive mystics. But note the spelling: Lumerians, not Lemurians; a clear nod to son et lumiere, the fusion of sound and light that is one of the hallmarks of deep trance and media. Lumerians play droning dance music for the soul you forgot you had – the noise of the billions of switches in your brain shutting off and on in perfect harmony. Three years after their self-released EP Lumerians are ready to unleash their debut full length Transmalinnia, an immersive odyssey beyond the senses five.

Inspired by the transcendental visions of artist and poet Eugene Von Bruenchenchein, the album takes its name from his cosmic fingerpainting that illuminates the cover. While Transmalinnia's sound palette evokes primitive analog witchery, Lumerians hunger for the future. As sensitive to texture and repetition as an electronic act, the band is propelled by voodoo rhythms, stripped-down organ psych and fuzzed out space disco, travelling freely through worlds both vaguely familiar and largely uncharted. In the studio, a former church turned recording studio and brewery they haunt in the Murder Dubbs of Oakland, they compose their music as a single entity probing the unknown, conjuring resonances until songs emerge.

Live, it is all about the dance; at once a visceral and psychological encounter. Flickering visions are projected, keyboards buzz, drums pound, bodies sway and minds melt. As the expanded cinema projections that intensify their live shows suggest, the band is constantly pushing their sounds toward musical synesthesia. The vibrant evocations and tribal rumblings are so intoxicating that sensory registers are crossed: sonics becomes optics, music becomes vision, psychedelia becomes phantasmagoria. While the music draws from many sources, it is focused on exploratory visions of other worlds and states of being. So by all means open your mind, but watch where you step.

During a stormy week of February, 2010, a Hypnotic River of Sound was birthed in a flooding home studio, deep within Topanga Canyon, California. Sparks & black water were spewing out of the electric sockets as members of J E F F E R T I T T I 's N I L E rushed to save their tape reels and instruments from washing away in a cosmic soup. The universe has spoken and these recordings were mixed, mastered and cut to vinyl, in a strictly analog process, catching the attention of bands like the Black Rebel Motorcycle Club (who invited them on tour) & publications like L.A. Record, O.C. Weekly, Foam, Tom Tom, L'Officiel (France), & Doingbird (Australia), who have all been swept by the currents of J E F F E R T I T T I 's N I L E.

Swirling, distorted psych, bulldozed along by pounding primitive drums, fuzzed out vocals, all glued together with a heavy spaced out guitar drone. If that ain't the ingredients for record of the month my name is Prince Bloody William. Imagine if you will the best of THEE OH SEES jamming deep with MOON DUO, with the aid of some sort of retro type drug that only Brace Belden knows the name of and you would almost be right on the money. Heavy, without losing one single hook, repetitive without being the least bit boring and shamelessly stepped in the glory years of acid rock without being a boring regurgitating hipster. Be warned, this record will give you a contact high.
(Cosmonauts-S/T LP Review)
- Sean Dougan, Maximum Rock N Roll #337

The Master Musicians of Bukkake are a group performing collective ceremonial music, far removed from category and pushing well beyond the “outsider” fashions of those willing to settle for less.

Master Musicians of Bukkake began in the fertile music scene of the Pacific Northwest in 2003. Originally founded as a collective of musicians from the overflowing community in Seattle featuring members of Earth, Burning Witch, Grails, The Accüsed, and Asva. Their 2009 album, Totem One (Conspiracy Records) was the band’s first record as part of a Northwest trilogy, marking an evolution from their first record Visible Sign of the Invisible Order (Abduction Records, 2005). Master Musicians of Bukkake has now solidified into a seven-piece cosmic psyche force.

Like a reverse dark side of the New Age sound, on the Totem series Master Musicians of Bukkake perform ritualistic electric excursions into the outer and inner reaches, relying on the electric power of psyched guitars, analog synth chants, and exotic heavy percussion. Totem One echos with the delusions of a West Coast death cult.

"The Allah Las are one of my favorite bands of their kind. I have known these guys since the beginning and have seen them grow into a serious band. With songs like “Catamaran” and “Did She Smile”, they keep the ladies dancing and the dudes happy." --LA Record