Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

The only straight-forward metal album by them - 81%

TheSunOfNothing, May 13th, 2009

All of Darkest Hour's past or future releases are more in the metalcore vein, with "Deliver Us" adopting somewhat of a progressive metal sound (compared to the others, at least). This is, however, completly different. Here Darkest Hour play a mixture of melodic death metal and thrash metal, leaving out most of the hardcore influence (it's still here, but to a lesser extent than the rest).

One noticeable factor is the use of the melo-death trademark riff, which was originally used by bands like In Flames to make their sound more "epic", as heard on In Flames's fourth album, "Colony". The american varient of the riff came about when At The Gates (ironically, not an American band) stripped the trademark riff of it's "epic" sound and instead made it sadder and at times, angrier. I think this was kind of a good idea, as the sound of those riffs is one of my many addictions (at times), but when millions of bands ripped the trademark off it got fucking annoying, and is a negative factor for any deathcore/metalcore band nowadays (Fortunatly, the use of the riff is dying, being replaced by one note breakdowns. No comment.)

Here, Darkest Hour use the american varient of the riff in a few songs, such as "the Patriot Virus", but in other songs, like "Oklahoma" and "the Sadist Nation", it sounds like the band actually knew what they were doing, it's real melodic death metal, just take out the cheesy riffs and add just a smidge of black metal every now and then.

As for the sound, all the songs are top-notch in awesomeness, exept it does get annoying because the songs REALLY drag on. Sometimes, it's needed, such as in "The Sadist Nation" and "Oklahoma", other though, such as "Marching To The Killing Rhythm" drag on for an unreasonably long time for no reason at all. It's fairly easy to tell the songs apart, though, and the only factor that gets annoying and really matters is the vocals.

The vocalist is the only member who allows the band to keep the hardcore sound, and his vocals really don't fit. He's not a bad vocalist really, it's just, he only ever does one vocal style and it doesn't really go with the rest of the music. He's the only member who isn't trying really hard here, and you'll notice, easily. His voice, while unique, is simply put, boring to listen to when he's singing as fast as he is (which is really fast) and he's never changing pitch or anything. Unfortunatly, the band changed their sound to fit him rather than him change his sound to fit the band on later records (although thankfully he sounds way less strained and isn't this monotonous on their later albums, particularly "Deliver Us", which is also a really good album).

I honestly can't pick out a single good song. I really like "the Sadist Nation" and "Seven Day Lie", and "the Patriot Virus" is a pretty good listen as well, but I suppose the best on the album is the fucking STELLAR album closer, "Veritus, Aequitas". It's a very emotional melodic death metal song, and includes piano, acoustic guitar, and some really well written riffs. This song is a work of art.

All in all, this is an extremly good purchase. The sound is, in short, basically thrash metal mixed with melodic death metal and some black metal here and there as well as some hardcore undertones (mostly due to the vocals). If you can ignore the hardcore and see what this album is inside, you'll really enjoy this, and then some.

Metal With a Message - 93%

BassLord, May 23rd, 2005

Washington D.C.'s Darkest Hour pump out a mix of brutal thrash, melodic death metal, and hardcore. The band's relentless attack is coupled with lyrics that speak out against political and social injustice, not surprising given where the band hails from. This combination of heaviness, melody, and intelligence make for an awesome listening expierience.

The album starts off with "Sadist Nation", which perfectly displays all of the bands strengths in one song. Fast brutal yet melodic riffs, relentless thrash drumming, heavy breakdowns, and intense vocals that sound like a mix of a death scream and a hardcore shout. It also features guest vocals by Tomas Lindberg(At The Gates, like 20 other bands). "Pay Phones and Pills" keeps the brutality going but is a bit more Swesish death metal styled. "Oklahoma" is by far the heaviest song on the album, with lots of blast beats and intense riffing.

"Marching to the Killing Rhytm" is another thrash riff fest while "The Misinformation Age" features an awesome chorus and a solo By Anders Bjorler(The Haunted, At The Gates). "Seven Day Lie" is another good track With lots of varying tempos and awesome riffs.

"Accessible Losses" is an epic which is very heavy but also has a nice mellow breakdown, probably to give the listener some time to recover from the bands brutal onslaught. "The Patriot Virus" is my favorite song on the album. Once again very Swedish sounding but definetly very original as well. "Veritas, Aequitas" is a farly mellow, slow paced epic clocking in at about thirteen minutes long, but is is surely worth it just to hear the awesome solos by Peter Wichers(Soilwork) and Marcus Sunnesson(The Crown). The bonus track, "For the Soul of the Savior" is really good as well.

This album is appealing on many different levels as it is very heavy and brutal, but also thrashy and melodic, and even features lots of hardcore breakdowns. Any fan of melodic death, thrash, or hardcore should check this out.

Not bad at all - 78%

BuriedAdulation, August 26th, 2004

Yet, another band that combines hardcore with Swedish death metal. These guys aren’t too shabby. They lean more toward the metal side, which is always a good thing.

Hailing from the capital of the US they went all the way to Sweden to record this. You can definitely hear the Swedish influence in here. The Vocals are screamed without sounding too hardcore. Just picture a hardcore version of Tomas Lindberg. Hell, I got mixed up with the both of them on the first track, since Tomas made an appearance there. Too bad the vocals don’t have much variation, but it is executed well.

The riffs on this album aren’t half bad. At times it sounds sloppy and leaves a complete mess. On the other hand it can be well executed. The opening riff to “The Patriot Virus” is absolute At The Gates worship right there. Taken straight from the ATGs book of riffs. So not much originality. There ARE some memorable riffs here and there on the last few tracks.

Probably the most consistent part here is the insane drumming. It’s nonstop madness. I assume the drummer has excellent stamina to go through the whole first track alone. Machine guns barreling at you for almost an hour straight with little breaks. The sound of the snare sounds good and not annoying. A shitload of superb fills will just keep you buried to the ground. The cymbal work is excellent. It might sound out of place to some but it can be affective in the music. The drumming alone would receive a high score.

Along with some OK lyrics, and a nice production, this CD is certainly one you can enjoy. Its still headbanging material.