In 2020, you’d be hard-pressed to find a group in heavy music circles that isn’t trying to incorporate a wide range of stylistic influences. And while variation is all well and good, sometimes you just need the safety and security of what’s tried and true: the old faithful, the rock, the foundation. For California collective Entry, this boils down to two things: hardcore and punk—manifested not just in their sound and fury, but in their attitude and aesthetic.

Everything about Entry’s debut full-length Detriment will be at once familiar and recognisable to anyone who’s been a part of a punk/hardcore/metal basement show. Songs that sting like spits of venom and vitriol. A raised middle finger declaring the excoriation of power in all its forms. Riffs that are both simplistic and devastatingly effective. A tight rhythmic lock-step that pounds relentlessly against the world.

Much like the scene that bore them, Entry also embody a profound DIY ethos. Formed from like-minded friends who shared a love for punk and fervently believed in the power of music to unite people within their community, the LA quartet self-recorded Detriment and there’s a complete lack of pretension to be found in its concise 15 minute run-time.

Instrumental opener “Intro” gets the listener on board with their sonic palette from the outset, criss-crossing between the likes of The Cramps, Discharge, The Exploited, Tragedy, Converge, and Minor Threat. Within seconds of “Your Best Interest” hitting the speakers, Entry are up and running with Chris Dwyer’s cracking snare hits and the visceral, guttural bark of frontwoman Sara G.

Guitarist Clayton Stevens, who also plays in post-hardcore outfit Touché Amoré, flexes his songwriting chops here, unfurling distinct and muscular riffs on momentary ragers like “Vulnerable” and “Secondary”. As one of the record’s longer cuts, “Selective Empathy” gives Sara G. more time to flesh out a mood and overarching political ideology, aided by Dwyer’s barrelling tom rolls and Sean Sakamoto’s thrumming bottom end.

Entry keeps things short and sharp on “Control” and “These Feelings” towards the record’s back-end, while also lending feminist ode “Not Your Decision” an arm-in-arm, punk-rock feel. Meanwhile, existential closer “Demons” dwarfs the record’s other entries, swelling to over three-minutes in length. Against feedback ring-outs and atmospheric tones, Stevens propels the track with droned riffs alongside Sara G.’s heavily distorted vocals. It’s a bitter and caustic finish to a precise and cutting album, proving that Entry have plenty more left in the tank for LP #2.

Purchase Detriment here.

Author

Owen Morawitz is a writer, thirty-something human male and an avid devourer of coffee, literature, philosophy, film noir and science fiction. He enjoys carving out a meaningless existence in the abyssal void, venturing beyond the bounds of the Southern Hemisphere, and listening to music that’s at times poignant, abrasive and restless—except when hungover.

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