lambchops's Full Review: Permission to Land [PA] by The Darkness
Everything from the heavy electric guitars to the catchy melodies to the kitschy cover art on The Darkness’ debut album Permission To Land reminds me of hair metal. But if this was just hair metal, I wouldn’t be so very impressed. The Darkness in reality represent an amalgamation of that mid and late 1980’s phenomenon, punk, and for that matter Brit-pop. I wouldn’t ever call this music profound, but I can honestly say that it is incredible entertaining and something that is all I want with an album.
I’ve been hearing things about The Darkness for quite some time now. A reliable source in London (England not Ontario) began telling me about this (and I quote) “vintage ass rock” band that performs in spandex. She then went on to say that she didn’t believe the hype, but after hearing them she decided all the hype was on target. So, of course, I waited patiently for the album to be released stateside. And when it was I was rewarded with something that evoked memories of my youth. Hair metal, Sebastian Bach, and the like all came to mind. But a modern twist on it all comes in the form of the consciously campy nature of the band and for that matter their sense of humor.
Now, if only Americans can open up the minds and hearts to The Darkness all will be good and right in the world. But then again, maybe those words are more than slightly biased since I am a child of the 1980’s and my muse of the decade was indeed hair metal. In any case, I do believe that this Norfolk, England based creation is worth all the time and effort in the world. Permission To Land doesn’t make you think, but it does make you jump around the room convulsively and with the occasional head-banging episode. It’s been a while since I’ve had that urge…
Aside from the descriptions about the music, I think it’s important to mention lead singer Justin Hawkins’ voice. See, it’s not by any means a traditional rock presentation. He’s got a certain vibe about him that wavers somewhere between the aforementioned Bach, Freddie Mercury, and the boyish charm of a host of Brit-pop singers. Sometimes he is soft, sometimes he yelps, and at other times he just warbles. But in any case, I’m drawn to the entertaining package.
Permission To Land is an overall strong album. It’s not perfect, but in many ways I believe that the band’s exuberance makes up for the weaknesses of the effort. Justin Hawkins in addition to Dan Hawkins (guitar), Frankie Poullain (bass) and Ed Graham (drums) to a great job at hashing together a variety of influences. It may have come off as dumb had it not been for the fact that nothing about this dirty little disc is meant to be taken seriously. And that’s just the right attitude to have going in to Permission To Land.
The disc has already been a success in the UK and has yielded a few hits including I Believe In A Thing Called Love, Get Your Hands Off My Woman and Growing On Me. Aside from those offerings, Permission To Land also boasts the gratuitous power ballad. Further proof of the band’s true leanings. So, basically, if you never liked hair metal or stadium rock then The Darkness isn’t going to do a damn thing for you. But then again, if either subgenre is a guilty pleasure then it’s high time you pick up this fist-pumping, groin bulging band’s debut LP.
It all starts off with Black Shuck--a song that nicely preps listeners for hard-hitting retro fest. It is hard to NOT feel as though you’ve stepped through a time warp. Black Shuck is very much a musical homage to AC/DC. In fact, Dan Hawkins’ guitar absolutely sounds like that of Angus Young. But the entire slant of the song changes once Justin steps up to the microphone. He spits, he grunts, he yelps, he screams—this is highly entertaining rock n’ roll that really shouldn’t work. But the fact is that no semblance of common sense applies to The Darkness.
Get Your Hands Off My Woman actually reminds me of the not-quite-metal song Sister Havana from Urge Overkill. But again, this only applies to the music itself. The vocals are something out of this world. The Darkness doesn’t pretend to be something they aren’t. These guys are dirty and nasty and humorous. Sure Justin uses colorful language, but I’m not at all offended. It all goes with the territory. Growing on Me is a melodic almost “pop” song. In fact, it would be “pop” if not for the heavy electric guitars. I really like electric guitars.
But with that said, I think my favorite song is I Believe in a Thing Called Love, a song that immediately reminds me of Rock You Like A Hurricane from the Scorpions. But again, this only applies to the thick guitar-driven melody. It’s loud, it’s fast, and it is truly invigorating. The chorus itself is memorable with a pitchy, yelping Justin Hawkins at the helm. I think this is the appropriate moment to mention just how similar this band is to their predecessors even lyrically:
I believe in a thing called love
Just listen to the rhythm of my heart
There's a chance we could make it now
We'll be rocking 'til the sun goes down
I believe in a thing called love
Ooh!
And as with all “great” hair metal rockers, there’s gotta be a touching ballad featuring acoustic guitars. For The Darkness it comes in the form of Love Is Only a Feeling. It is here that listeners will get the idea that the vocals and music are by no means forced. And while the song isn’t perfect, I still kind of like it. But Givin’ Up on the other hand is brilliant. I adore the southern-rock feel that reminds me somewhat of the Motley Crue version of Smokin’ In The Boys’ Room. A bit a blues with a bit of southern charm warms me all over.
Permission To Land continues strongly. Stuck in a Rut is hard and heavy and fun—but not one of the band’s best. But as with all of these songs, it is brief and not particularly painful anyway. Givin’ Up feels a bit like pop again, but with forceful use of electric guitars and Justin’s voice it is also something more. The album takes an upswing with the raunchy Love on the Rocks With No Ice. The Darkness sounds best when they are unabashedly being “vintage ass rock.”
The festivities wrap up with Holding My Own, another touching ballad very much in the same vein as Poison’s Every Rose Has A Thorn--and a host of other similar songs. As strange as it may sound, I can’t get enough of Permission To Land. It is loud, obnoxious, and strange but it is also very much a part of me. Not this specific music really, but the kind of songs that clearly inspired The Darkness to create this album. While the concept may be laughable, the material is not. I love these guys, and if you were once a purveyor of hair metal or stadium rock then maybe it’s time you also check this disc out. Sure the latter part of the album goes slightly downhill, but in all I’m very impressed. And so were the people at the Mercury Music Prize as the album was shortlisted for the 2003 award.
Go get it. Now. And let your hair down.
Rating: 4/5 stars
Track Listing:
1. Black Shuck
2. Get Your Hands Off My Woman
3. Growing on Me
4. I Believe in a Thing Called Love
5. Love Is Only a Feeling
6. Givin' Up
7. Stuck in a Rut
8. Friday Night
9. Love on the Rocks With No Ice
10. Holding My Own
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