"Entertainment is a band from Athens, Georgia United States and they have been on the scene for some decades, hidden from the light exposure by crawling from one underground club to another almost anonymously and just sporadically delivering an album or an EP to corroborate their existence. Their aim is Death Rock with the perspective from the forefathers of the genre; so you'll get the bouquet from some of the crude Bauhaus experimentalism, the morbid cadence from Christian Death's Rozz Williams era and the psychedelic bleakness from early PIL, a pinch of the catchy Play Dead's bass & drum interplay amongst a whole bunch of other dynamic subterfuges added by the quartet. A carnal angst and most defined death wish impregnate the whole atmosphere of the album, a detail clearly expressed by the suggestive cover, you'll survive their nightmare, will your mind do the same? "Gender" is an album that demands certain mood for you to bear it, otherways you'll get flattened by its heaviness and perhaps it will make you reluctant to take the ride. Heavy and morose, that's all about it, a condition that is expressed by the music, the rhythm and the atmosphere it does expand during its relatively short timeline, 36 minutes of a heartless descent into the miasma of monolithic bass lines with lots of bleak guitar chords drenched in the dismal perversity of an arrhythmic funeral march and covered with some pale synth lines that look as if were taken from a zombie movie. A veil of misery and despair slowly takes hold with each subsequent track and keeps its gelid grasp into the dissonant call of the grave upon the listener's shoulder. Entertainment speculate a bit with their assertions on their monolithic Death Rock conception, taking time to vary the structure with savage dissonance on the rhythms, making abrupt cuts and collapsing rhythmic changes that ultimately seems like the drummer is experiencing a seizure. These intentional arrhythmias augments the vertigo from the loathing vocals by Trey Ehart and creates a vaccuum to twisted synths along with virulent bass lines. In "A seduction walks" things go wild, the voice is subdued behind the procession of riffs and the pulse from the bass and drums and lots of echo are spilled upon it to create this drugged like tone, this demented ambience of carnivore dementia. "Flesh" is a superb track to end it all, with its bell like resonance delivered by the synths behind the strong drum and the pounding bass lines with a Robert Smith-esque vocal flirt on top, a kicking finale. After a while it results obvious that the monolithic structure chosen to express this catacomb like sound for Death Rock is unable to give anything else but its relentless mix of succulent bass lines vs epileptic drum sets and the guitar phantasmagorias drawn by the guitar. The synth additions and the smart turns from echo effects, distortions and acidic feedback cannot let it escape the definitive omen from its own repetition. The guitar section managed by Chisolm Thompson and Trey Erhart focuses way to much to resemble Rozz williams and at times the album reflects way too much the ghost from "Only theatre of pain", some tracks sound almost like unreleased fragments from "Romeo's distress". Aside from that, the album truly finds the black hearted escense from Death rock without subterfuges or sweeteners and faithfully delivers the noble grace from its grave call." - Jack The Ripper

Heathen Harvest