To be trapped, exiled, or even ignored, captures this sound that Entry is able to blast through on their Southern Lord debut, Detriment. The 14 minutes over nine tracks is quick; blink and the moment might be missed but the aftermath leaves piles of wreckage and burn marks around the studio.
The beatdown in question is delayed by “Intro,” the first glimpse into some of the brutality that Entry has on hold. With a full spread of instruments, ranging from Clayton Stevens on the guitars and Sean Sakamoto on the bass. Following is Chris Dwyer on the percussion and vocalist Sara G who together, form a quadruple-headed embodiment of hardcore approachability.
From the basement to the center stage, “Vulnerable” follows and wants to punish in the near minute-and-a-half that it appears, Burning not as an effigy, but more as an eternal flame of sound. Entry forms machine-gun level runs where the instrumentation crashes on the listener’s head like an anvil and hammer. The nearly constant crack from Dwyer’s snare is enough to pulse the head and through the frequent one-two step style of hardcore, it is easy to create movement behind each track.
Especially when Detriment hits “These Feelings” which, from the initial seconds is contorted entirely on the bass line which flows into the guitars and vocals pouring over in an unstoppable fashion. It seems that with every second spent with Entry, their main focus is smash and grab, orchestrating formidable opponents and barriers of power. And with incredibly shortened run time, Detriment is able to be spun multiple times before it is even realized that the record ended. It works on a carousel fashion where the patterns are similar but vibrant enough to command the listener’s attention and sculpt audience participation.
When shows are back and Entry can hit a stage once more, Detriment is going to be this rambunctious, bass-heavy burst that will have movement. With the final track “Demons,” Entry is less about the fire breathing and instead opts for a slow burn where the chords are drawn out and becomes more similar to a death metal piece rather than a strict pummeling. It works to free some of the record from monotony and actually could have been encouraged more on the record. Tracks like “Demons” is a fresh example of how Entry can hurt you, spend every second hurting you, but do it in diverse ways without becoming a cog in the machine.
Taking up much the time by seeming as a stick-up situation, Entry is simply harmful around others. The record begs to be moshed with and bonds some of the patches from their last record by becoming faster, stronger, and more aggressive. With Southern Lord under the belt, the foundation becomes a black garden for pain instead of flowers to grow.