Lenchantin and Blakeslee met in Chicago, during the strange (and uncharacteristically high-profile) phase in her career when she joined the Smashing Pumpkins' Billy Corgan and Jimmy Chamberlin, Chavez's Matt Sweeney and Slint's David Pajo in the doomed Zwan project. Before that, between 1999 and 2002, she was recruited by Tool's Maynard James Keenan for A Perfect Circle.
"A Perfect Circle did a tour with Smashing Pumpkins and then Billy Corgan thought I was good. I ran into him at a birthday party and said hello, and he was starting a new project with Matt Sweeney, the guitar player. I was very interested in Matt Sweeney — I loved his background and I think he's a music genius! He knows so much about music, and I thought, 'This is something I could do,' mainly because of Matt Sweeney. He is quite a musician and I knew there was something he could bring for me to further my love for music. I wanted to know more. I didn't want to be stuck in any way.
PHOTO BY MAGDA WOSINSKA
Paz Lenchantin gets high at an Entrance Band show.
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"Matt Sweeney was the one that handed me Guy Blakeslee's Entrance demos. Just gave them to me and said, 'Tell me what you think about this.' He would always say that, and it was always extraordinary the things he would give to me. I was in music heaven, just hearing things that I never had been exposed to."
Lenchantin was born in Mar del Plata, Argentina, to two concert pianists. She was classically trained from a very early age. "My mother gave concerts while I was in the womb," she explained. "With my parents, it was very classically based — tangos as well. But mainly classical."
In the late 1970s, the Lenchantins emigrated to Los Angeles. While Paz and siblings Ana and Luciano continued to work on classical instruments — she would eventually attend the prestigious art school at Idyllwild — Paz also taught herself to play bass. "My mother had her father's guitar in the house and it was missing two strings, so I just turned it into a bass and played along to my favorite records— Jimi Hendrix, Pink Floyd. Nonstop." She also developed a love for jazz. "I started listening to a lot of John Coltrane and I would play violin to his saxophone."
Unbeknownst to her, this sui generis way of engaging with popular music as an improviser made her an ideal partner for the kinds of psychedelic explorations that Blakeslee's originally solo Entrance project was mutating into. "When I got his demos I thought he was just brilliant, incredible. The first Entrance record I worked on is called Wandering Stranger [2004], came out on Fat Possum. That's just Guy by himself with a drummer and I'm playing violin only. Then Prayer of Death [2006], and that came out first on our own and then on Tee Pee. By the third one we did together, Entrance became the Entrance Band. That one was through [Thurston Moore's label] Ecstatic Peace [2009]. That's when we started playing together, and then we moved here."
After a long, exhausting tour promoting the Ecstatic Peace album, the band started work on the new material they'll premiere at the Satellite. "We're kind of free agents," she said. "We want to maybe put it out ourselves. Times are different. The previous album was through Ecstatic Peace/Universal, so there were a couple of things that, personally, the approach is different."
The fundamental Entrance Band experience, though, remains the small-venue live gig. The band has done some live recordings that they sell at shows. "We put out actually our own bootlegs of the live shows. We really like the live sound of what we do. We're always doing something different."
For Lenchantin, one of the most memorable shows was here in L.A. at the Bootleg Theater, "because it was very electric, meaning fiery. It was so fiery I ended up jumping off the stage and doing stage dives. That was the last show of the tour that we started for the last record. We started it with Sonic Youth, we did a lot of touring, we were touring so much, and it was all of our friends we hadn't seen in a long time. It was fire. That's how I refer to it. I won't forget that show."
Fire. Yes, you want to catch the Entrance Band's Satellite residency to revel in the 21st-century take on the psychedelic blues. And yes, you'll be enthralled by the pyrotechnic energy Lenchantin can conjure out of a humble bass. But there's another, more contemplative side to her music that, in yet another unlikely turn of events, soon will make its way, almost subconsciously, into the world.
"My brother passed away a little while ago and it was a great shock to my family," she said, still tearing up a bit about the 2003 death of her brother Luciano. "So I couldn't stay around here and I went to Kentucky, and while I was there, just healing, you know, just playing the violin, I just thought I would learn to play fiddle. While I was there I was just recording myself, I didn't think too much about what I was doing. I wanted to continue playing music, but just not the bass at that moment. And then someone heard these tapes I had made, really liked them. A solo album came out, Songs for Luci [2006]. I sing too, but it's mainly violin, drums here and there. To tell you the truth, I didn't know what I was doing. I did whatever was natural to me. Never thinking no one was ever gonna hear it. I did it to keep my senses occupied and for my healing, to get on with that.