Darkness
One Way Ticket To Hell....And Back

THE REVIEW

Given the 3 previous reviews and their respective comments, I cannot refrain from making a fourth. With the Darkness, classic rock and glam, in particular, comes back to the forefront in the third millennium, awaiting a new generation to resurrect rock‘n’roll (an essential use of new technologies that cannot be ignored), if it ever will.

The Darkness are Justin Hawkins (Vocals, Guitars, Synths), his brother Dan Hawkins (Guitars), Ed Graham (Drums), and the latest addition Richie Edwards (Bass guitar) who recently replaced Francis Poullain. The Hawkins brothers hail from a seaside town, Lowestoft, in Suffolk (North-East of Great Britain) and grew up dreaming and playing rock‘n’roll. Dan truly tries, moving to London where he meets Francis (a genuine Scottish exile) with whom he forms a solid friendship, while Justin goes to study at Huddersfield University. The turning point occurs when Justin participates for fun in a Karaoke competition and delivers a spectacular performance of “Bohemian Rhapsody”.

The first to be amazed is his brother Dan who convinces Justin to join him to form the band: Francis (meanwhile having moved to Venezuela) and Ed (a former schoolmate of the brothers) immediately respond to the call. The group immediately hits the mark with an independent label that promotes what will become a hugely popular hit: “I Believe In A Thing Called Love,” followed by a contract with a major (Atlantic) and the release of 'Permission To Land' (2003) which, thanks to tracks like “Friday Night” (Justin and Francis's favorite), “Get Your Hands Off My Woman” (Dan's favorite), and “Stuck In A Rut” (Ed's favorite), will remain in the upper echelons of the British charts for two years.

In rock, there have been many meteors, and I also doubted that this concerned the Darkness. But no: the choice to review this second work is proof of that. First of all, if rock‘n’roll is musically dead, it is not in spirit, in its evocative power: and it never will be! This second effort by the Darkness is a brilliant example. Despite their name, they do not obscure their sources; instead, they blatantly display them: early AC/DC (those with Bon Scott) and Queen (especially in the album Jazz) above all. To this, I would add a natural association (I don’t know if intentional or not) with early Toto (those with Bobby Kimball) and, above all, the entire Glam music literature of the '70s (David Bowie and Marc Bolan leading the way) is literally dissected. For many, this is not and cannot be a cause for pride, and I acknowledge such an objection worthy of due consideration. But, since when there is 1 euro to spend, tastes prevail, then in the current rock chaos, if I have to spend a little something, I do it for this CD; otherwise, I hold on to my beautiful vintage albums and leave my wallet in peace.

The musical choices of the two brothers conquer the resistance of Francis, who was more inclined to more engaged rock (like Tom Waits, so to speak): the bassist leaves, and Justin recruits Richie Edwards with whom he shares an unhealthy passion for Queen. The title track “One Way Ticket To Hell...And Back” (and first single) is strangely the least interesting track, at least for me, redeeming itself only for its fun refrain. Things change decisively with the subsequent “Knockers” which I consider the best track on the album: I would not add more. In “Is It Just Me” and “Dinner Lady Arms”, there is a clear nod to AC/DC’s Powerage and Highway To Hell, to Toto’s Hydra and Turn Back, and to that “basic rock” (The Knack and The Cult, in particular) so dear, moreover, to Ed (and it’s apparent). The splendid ballad complete with strings, “Seemed Like A Good Idea” begins to show Justin's devotion to Queen, while in the medieval “Hazel Eyes”, the singer gives his best. The hardest track is “Bald”, where Dan unleashes all his love for the Young brothers which “forces” Justin to intervene on the lyrics to avoid a perfect emulation.

The English band even winks at the Disco/Dance of the late ‘70s in the captivating “Girlfriends”, before returning to the fold with “English Country Garden” where we find Justin echoing Mercury, Dan echoing Lukather, and Richie moving perfectly at his ease. Closing this formidable revisitation of ‘70s rock is “Blindman”: a clear homage to Queen and the memory of its unforgettable front-man. As if to say (ironically): in the face of the living dead!
Filippo Guzzardi