Music Review: The Darkness, Last Of Our Kind

By Tyler Hodg

For fans of The Darkness, the very fact that there is a fourth album is a miracle. The band departed for a hiatus in 2006—which at the time seemed like a definite end—but subsequently returned and is now releasing their second album since the break-up, titled Last of Our Kind. With newcomer Emily Dolan Davies on the drums (who has already since parted ways with the band), The Darkness attempt to bring evolution to their music. Not everything on the album works, but there is enough to satisfy both casual and diehard fans alike. Thankfully, the more time spent with Last of Our Kind, the richer it seems.

The album commences with “Barbarian,” a track of roaring guitars, thunderous drums, and stentorian vocals. It works quite well as an opening song but its impact doesn’t compare to some of the previous kick-off tracks from the band, such as “Black Shuck” and “One Way Ticket.” When “Barbarian” was released prior to the launch of the album, it seemed an odd and unimaginative track from the usually creative band, but in hindsight, there is more to it than what’s on the surface. The intricate guitar work in the pre-chorus and exceptional guitar solo from the God that is singer/guitarist Justin Hawkins make the song incredibly memorable.

After a mix of mediocre rock songs such as “Last of Our Kind” and “Roaring Waters,” and a classic-sounding ballad titled “Wheels of the Machine,” a truly original track emerges: “Mighty Wings.” It’s not easy to find words to describe this epic. The off-putting synth intro is cringeworthy at first, but as the song progresses, its significance becomes evident. The song boasts easily the heaviest riff the band has ever had and the ominous verse transitions into a beautifully written chorus. It’s not beautiful in the way that makes you cry; it’s beautiful in the way that titillates your brain and sends you on an incredible musical trip. The chorus is so original, it’s nearly impossible to predict where it will go next, and the collaboration between the verse and chorus makes for an astounding high spot on the album.

Last of Our Kind’s greatest strength is its biggest downfall: the album is completely scattered musically. While varying styles and genres add fresh elements to each song individually, the album as a whole feels all over the place. Listening from the first track to the last, it becomes apparent that all of the band’s influences are coming out at once, albeit those which conflict with each other. Having a straightforward rock song like “Hammer and Tongs” included on the same album as an epic like “Mighty Wings” feels uncomfortable, and the flow of the record is completely discombobulated on multiple occasions because of this very issue.

For a record by The Darkness, Last of Our Kind is fairly mediocre. While songs like “Barbarian” and “Conquerors” are incredibly impressive, not to mention “Mighty Wings,” they can’t entirely make up for the other songs that aren’t as compelling. The album artwork, which features a baby piloting a spaceship, seems as out of place as some of the tracks and its relevance is easily lost (if there was any to begin with). However, as a rock record, Last of Our Kind kicks everything else that is currently being released to the curb. The Darkness are one of the most underrated bands of all time—and even their worst record is better than some other bands’ best.

Last Of Our Kind will be released on June 5 via Canary Dwarf via Cobalt Label Services.