THE DARKNESS
ONE WAY TICKET TO HELL...AND BACK!
ATLANTIC RECORDS
ONE WAY TICKET TO HELL...AND BACK!
ATLANTIC RECORDS
Who the best hair metal bands were and the relevance of their impact is a
topic for another day. For that matter, the relevance of the genre itself can
be debated ad nauseum. But today belongs to The Darkness. They alone
can stand on the top of a mountain with hoards of one-hit-power-ballad
wonders playing state fairs and tiny night clubs below them.
The new disc is called One Way Ticket to Hell…And Back! The title is a not
too subtle metaphor for singer Justin Hawkins’ battle with cocaine during the
Darkness’ rise to stardom after the success of Permission to Land. In fact,
The Darkness aren’t subtle at all. This is apparent with the prelude to the
opening title track as you hear the unmistakable sound of a razor blade
chopping the devil’s dandruff on a mirror and the nasal ingestion to follow.
It is equally apparent in the video for the track as band members struggle to
climb a giant mountain of snow. The track quickly draws you in with Hawkins’
Freddie Mercury meets David Coverdale delivery and the above mentioned
anthemic chorus chaining you down tighter than weaker bands could ever
dream of. It stands up with anything on Permission to Land and puts to rest
any fears of the sophomore slump.
The rest of the disc doesn’t quite match up to the title track, but it’s not short
on the elements that make The Darkness great. "Is It Just Me" is stylistically
reminiscent of Permission to Land while tracks like "Hazel Eyes" and "English
Country Garden" take it to a new level with a more theatric, progressive
sound and the introduction of some new sounds like Mellotron and sitar. And
yes, there are power ballads ("Seemed Like a Good Idea at the Time") and
overtly sexual references (knockers) all the while keeping your attention with
infectious songwriting and powerful production by Roy Thomas Baker
(Queen).
The Darkness don’t take themselves too seriously. That and their talent for
writing a damn fine pop-metal tune set them apart and above anyone else
trying to do the same thing…if there is anyone else. The common gripe is
listener’s inability to acquire a tolerance for Hawkins’ amazing and sometimes
hilariously falsetto vocals. There is more of that on this record than on
Permission to Land so I doubt it will win over a new slew of fans, but the disc
stands on its own just fine. The future looks bright for The Darkness, and
we’re lucky to be along for the ride.
--Jeremy Porter
topic for another day. For that matter, the relevance of the genre itself can
be debated ad nauseum. But today belongs to The Darkness. They alone
can stand on the top of a mountain with hoards of one-hit-power-ballad
wonders playing state fairs and tiny night clubs below them.
The new disc is called One Way Ticket to Hell…And Back! The title is a not
too subtle metaphor for singer Justin Hawkins’ battle with cocaine during the
Darkness’ rise to stardom after the success of Permission to Land. In fact,
The Darkness aren’t subtle at all. This is apparent with the prelude to the
opening title track as you hear the unmistakable sound of a razor blade
chopping the devil’s dandruff on a mirror and the nasal ingestion to follow.
It is equally apparent in the video for the track as band members struggle to
climb a giant mountain of snow. The track quickly draws you in with Hawkins’
Freddie Mercury meets David Coverdale delivery and the above mentioned
anthemic chorus chaining you down tighter than weaker bands could ever
dream of. It stands up with anything on Permission to Land and puts to rest
any fears of the sophomore slump.
The rest of the disc doesn’t quite match up to the title track, but it’s not short
on the elements that make The Darkness great. "Is It Just Me" is stylistically
reminiscent of Permission to Land while tracks like "Hazel Eyes" and "English
Country Garden" take it to a new level with a more theatric, progressive
sound and the introduction of some new sounds like Mellotron and sitar. And
yes, there are power ballads ("Seemed Like a Good Idea at the Time") and
overtly sexual references (knockers) all the while keeping your attention with
infectious songwriting and powerful production by Roy Thomas Baker
(Queen).
The Darkness don’t take themselves too seriously. That and their talent for
writing a damn fine pop-metal tune set them apart and above anyone else
trying to do the same thing…if there is anyone else. The common gripe is
listener’s inability to acquire a tolerance for Hawkins’ amazing and sometimes
hilariously falsetto vocals. There is more of that on this record than on
Permission to Land so I doubt it will win over a new slew of fans, but the disc
stands on its own just fine. The future looks bright for The Darkness, and
we’re lucky to be along for the ride.
--Jeremy Porter
The Darkness’ 2003 debut Permission to Land took
the world by storm. They put hair metal back on the
map and gave it a 21st Century facelift without
sacrificing the anthemic choruses and irresistible
hooks that kept the best hair metal bands on top
for…well…at least a few months in the 80s.
the world by storm. They put hair metal back on the
map and gave it a 21st Century facelift without
sacrificing the anthemic choruses and irresistible
hooks that kept the best hair metal bands on top
for…well…at least a few months in the 80s.