Search - Landmine Marathon :: Sovereign Descent

This album is the best example of American grindcore to hit

The NewReview | USA | 03/26/2010

(5 out of 5 stars)

"Cephalic Carnage. Napalm Death. Bolt Thrower. Carcass. Gods amongst men when it comes to that classic grindcore sound. The legacy there is undeniable. If you want fantastic grind, you go to these bands. Well, get ready to add another name to that exclusive list. Landmine Marathon's new album Sovereign Descent is your daddy's grindcore. There's no modern frills, no fancy production, no real experimentation. Seeing how young this band is, I'm surprised they've captured the old school grind sound so well. I honestly feel as if I'm listening to a tape-traded album.



While the legendary bands have moved forward and innovated their sound, Landmine Marathon sticks true with what was pioneered in the late 80's. I suppose that's what surprises me so much about this band; they forgo so much of the genre's evolution (not to mention the Brutal Truth-esque tendencies that other American grind bands follow) that they sound more like a British grind band from the past. Someone check to see if they travel to gigs in a time machine.



With this being their first album under Prosthetic Records' able wing, they've dropped the Bolt Thrower tributary sound that I found so refreshing on the last album and have found their own niche in the genre. It certainly helps that vocalist Grace Perry is A) a woman and B) awesome at what she does. Her vocals are very ranged, meaning she can hit the required screeches and low gutturals with little effort. They satisfy every grind pre-requisite and yet are so different (again, because of A above) that they forge a path yet unheard. It's breaking new ground and making the genre stretch its definition a bit.



Of course, no self-respecting grindcore outfit would be without a fast and technical drummer. Mike Pohlmeier fills that role nicely. Loud, rolling blast beats and bombastic fills keep the music moving at a breakneck clip. It's amazing the guitars can actually keep up. Ryan Butler and Dylan Thomas are masters at what they do, mixing in deathy chugs betwixt the chaotic mix of solos, runs, and trills. Matt Martinez on bass does amicably in following his six stringed cohorts.



The only downfall to this album is, like with Rusted Eyes Awake, the production. The guitar tone is entirely too muddy. Granted, this could be deliberate (seeing as guitarist Butler recorded the music along with other great bands like Misery Index) in sticking with the early UK grind sound. Still, I would have liked to have heard a sharper, clearer guitar tone. With Alan Douches doing the master, it feels odd not to have that clear tone.



Despite the (admittedly minor) issue with the guitars, I feel this album is the best example of American grindcore to hit in a good long while. It is also one of the best grindcore album of any nationality I've heard since Napalm Death's The Code is Red...Long Live the Code. If grindcore is your thing, this album has absolutely every right to be in your treasured collection.



(4.5/5)"