Glam. Rude. Revelers. In a nutshell: true British rocker with the label DOCG ... this is, always, the Darkness. And even with this new "Last of our kind", from the first notes, they remain faithful to their modus operandi and their essence. Without compromise - indeed, almost exaggerating the whole thing and bringing it to a higher level.
To start with the right foot, the opener is a typical piece of hard rock taurine (but very hard, bordering dell'heavy, saw the riff) flirting with the American rock to highway, but surprises with a chorus and dark "satanizzato" with falsetto to King Diamond. Intriguing? Exactly.
And yet: how to resist to the second song, the "Open fire" from riff reminiscent shamelessly the Cult psych / tamarri and delightfully crass transition between "Love" and "Electric", in mash-up with a piece of metal in street Pure style Sunset Strip (if you have this Motley Crue of the first two discs, you know what it's about)?
The formula is not new, not upset the music scene (is there really anything that can do that now? And above all: is it necessary?), But it works 100%. Why - what that youth and inexperienced tend to underestimate or disregard - to make tamarri credible and not immediately fall into parody Bagaglino rock, takes cloth. Tanta. And thick.
Perhaps the only slight anticlimax recording with the ballad americanissima and a bit 'too parodic "Wheels of the machine", which mixes castration medieval falsetto riffs typical soundtrack of romantic films like "Top Gun" / "Dirty Dancing "; but the Darkness with a flash of unexpected throw themselves head into the vortex of the Queen sound, immediately unleashing a "Mighty wings" worthy of a jam between Thin Lizzy, Brian May and Freddie Mercury.
With "Mudslide" instead enter territory AC / DC, faced with the filter glam made in UK, for a result of rare boorishness, bordering the junk shop glam darker and fine ... in short, a gem of nostalgia vintage indisputable .
Everything goes on like this, suspended between taurine exuberance on the road and provocative glam Seventies, with touches of metal and rock adrenaline racing on the bumper of the rides of the country: the effect is pleasant, fun and - as the rock occasionally be - exhausting, disengaged.
"Last of our kind" will not change anything in terms of dynamics, balance, taste and perception of the band, but is able to give a dozen splinters rock textbook, nostalgic at the right point, well-chiselled and with a band capable of believe and make believe.
Marginal note: the sporadic presence of drummer Emily Dolan Davies - already left by Darkness, but in the studio for the session of the disc - not at all affect the result. His drumming straight, square and basic goes well with the mood of the album, which does not suffer in the least.
Last of our kind
Wheels of the machine
Hammer & tongs
Million dollar strong