|
While many music devotees expect their favorite bands to make substantial changes to their sound as they release records, some groups are content to hone their craft and ultimately work toward writing music that, from the band's perspective, is as close to perfect as is possible. Darkest Hour has been together since 1995, and, following the 2000 release of The Mark Of The Judas, the band has largely focused on tightening their metallic chops and making subtle, but notable, progressions.
On their latest recording, Undoing Ruin, Darkest Hour takes a similar approach.
Undoing Ruin comes from the same Darkest Hour that unleashed the ferocious and tactfully melodic metal of The Mark Of The Judas, So Sedated, So Secure and Hidden Hands Of The Sadist Nation. There's still an emphasis on Kris Norris' and Mike Schleibaum's masterful, metallic guitar interplay, and the mechanically precise rhythm section and throaty screams continue to play a firm role in the band's sound. Like Darkest Hour's previous efforts, Undoing Ruin is delivered with energy and enthusiasm, but the album separates itself from the rest through subtle nuances, several previously unexplored ideas and a better balance of tempos.
Some changes are apparent as soon as the album's opening song, "With A Thousand Words To Say But One," reaches its chorus for the first time. The high-pitched, melodic guitar picking and deep, buzzing riffs incorporate an element of catchiness that was rarely so present on the band's past efforts and that accents songs throughout Undoing Ruin. "Convalescence," without doubt the album's catchiest song, flirts with sung vocals and consistently relies on mid-paced grooves instead of blazing tempos. "Paradise" stands out as one of the more textured songs as the band incorporates atmospheric layers, spoken vocals and some memorable, pronounced bass parts. Electronic inclusions, mainly synthesized keys, tastefully pop up throughout Undoing Ruin and, despite their subtlety, create depth at clutch moments.
The familiar elements of Darkest Hour's sound have, if anything, improved. While there's still a vast array of metallic guitar riffs, Undoing Ruin benefits from punchier, more confident and more ambitious guitar parts and solos. The production allows bassist Paul Burnette to explore his own territory from time to time, and drummer Ryan Parrish formidably varies the tempo and incorporates a fair amount of groove. The furious, metallic girth is, in the end, better balanced with more accessible riffing styles and speeds, and the music consequently carries more feeling.
At this point in time, Undoing Ruin is as close to perfect as Darkest Hour has come. The band has musically progressed, opened up to new ideas, shifted to a more personal lyrical style and found an understanding producer in Devin Townsend (of Strapping Young Lad). If Darkest Hour's intentions were, as mentioned earlier, to hone their music and not forget their foundation, the band surely has succeeded. This is Darkest Hour's strongest and most memorable work to date.
|
