See the Light
When an album starts off with a screech that you can’t tell if it’s an instrument or a voice, you know you’re in for something mind-melting. However, the simple fact that DC metalcore heroes Darkest Hour chose to self-title their eighth album hints that they may have been attempting a sonic rebirth (see: Metallica, 1991). When they signed to Sumerian Records last year, they saw it as a good time to expand their sound, with the help of producer Tyler Larson. The end result may both lose and attract fans.
Darkest Hour was always known for melodic death metal, and opening track “Wasteland” typifies that. Vocalist John Henry runs the gamut from full scream to tuneful growls to legitimate singing in one heavy, pounding track. “Rapture in Exile” is more screaming and speed, closer to typical DH. On “The Misery We Make,” Darkest Hour starts to veer off in a different direction, with Henry’s singing voice revealing itself as not only capable but distinctive, but likely raising fans’ eyebrows. Finally, on “Futurist,” DH decelerates dramatically to the realm of pop-metal. It’s a catchy, well-orchestrated, tune — impressive by other standards — but is it Darkest Hour?
The next track, “The Great Oppressor,” as if apologizing, delivers familiar speed and an off-beat delivery. However, the “new tricks” come back in the next songs, including a stunning guest appearance by gloom-pop artist Draemings on “By the Starlight.” Like it or not, the effect is beautiful, and if DH has a hit with it, it would be deserved even if longtime fans cry “sellout.” Still, songs like “Lost for Life,” with its punk-like speed, should save face.
At this point in their career, Darkest Hour has earned the opportunity to spread its wings and see where the winds take them. Some will welcome the new direction, and some will not, but there is no denying that band is going where it wants to go.
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