“Jam 1” is the heaviest piece, while also the most traditional in terms of psychedelic drone. A loopy, hypnotic bass line begins after one minute and totally dominates the track, while the guitar and other effects noodle back and forth around it. The layers are interesting: with the bass on top, guitars in the middle, and keyboards fleshing out the sound in the very back—as if playing from the next room—the piece reaches mesmerizing depths.

Coming out of that, “Jam 2” demonstrates the greatest contrast on the record. Built upon a slow swing, the players’ individual parts don’t gel together immediately, and the track begins without purpose. Their “funeral folk” beginnings are more obvious here. A lulling bass line again commands the direction of the piece and the mood gets thicker as it goes. Eventually there’s no respite from the smoke. Occasional tremulating guitar work played on the higher frets rounds out the deep atmosphere. Even following a clean fade, “Jam 3” evolves immediately from this sound, though it seems obvious that time has passed. The pace picks up a little bit, and despite hints from the keyboard, melody is mostly slight throughout, until the Eastern-tinged guitar takes over near the end.

“Jam 4” is psych rock of the finest order: “Tomorrow Never Knows” as filtered through Sabbath and Hawkwind. Interlocking, serpentine lines of guitar and bass approach a variety of mild effects and sonic screeches. With neurons firing at full force, this one maintains taut power... And then somebody opens a window. “Jam 5” is the upbeat piece, the rock song, the acid frenzy, and the motorik groove. Sylvester Anfang II puts a little boogie into it, and this awesome track concludes as its energy culminates.

At 35 minutes, and with the live-in-the-studio approach taken by the Latitudes series, this feels very much like Sylvester Anfang II’s John Peel session. Expect their underground following in the UK to rise.