If festival slots were awarded on the basis of commitment to the cause, Darkest Hour would have been headliners for years. As it is, they're fast approaching 20 years as a band having slipped under a lot of people's radars. That might be about to change, however. Released at the beginning of this month, theirIf festival slots were awarded on the basis of commitment to the cause, Darkest Hour would have been headliners for years. As it is, they're fast approaching 20 years as a band having slipped under a lot of people's radars. That might be about to change, however. Released at the beginning of this month, their new self-titled album is the first to see the light of day on Sumerian Records and the first produced by Taylor Larsen. In addition to this, it is the first record to showcase the talents of bassist Aaron Deal and drummer Travis Orbin, who joined the band in 2012 and 2013 respectively. The album sees Darkest Hour take a more melodic approach to their music, something that may well ruffle the feathers of fans that have been with them since their humble beginnings in 1995. Thankfully, they haven't embraced it so much that the end result is watered down and fairly wishy-washy; it still packs enough punch to break your nose and cheek in one movement. Rapture in Exile will incite circle pits with complete ease whilst other highlights include opener Wasteland and the Bullet for My Valentine-tinged anthem Infinite Eyes. All the while, John [...]
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