Review | The Darkness – Dreams On Toast

Label: Cooking Vinyl

By Millie Throp

Formed modestly in Suffolk, The Darkness’ audio profile is harder to pinpoint. Aligned with the theatricality of bands like Queen and fellow early 2000s artists like Scissor Sisters – armed with their own iconoclastic, falsetto-capable frontmen – I might then describe the foursome as all-thrills; openly parodic; creators of greatness. 

Marking more than 20 years since the release of the group’s 2002 debut, ‘Permission To Land’, their latest album, ‘Dreams On Toast’, is in no means any less charismatic. In many ways, the new 10-track LP echoes the same bashful spirit; a welcome antithesis to anything uptight.

Perhaps as spunky and over-the-top as the album’s promotional discourse so far – with lead singer Justin Hawkins coining the album “aromatic, aural ragu” – its sonic register is expectedly rich with electric riffs, spontaneous voiceovers, and country bops. With each track possessing its own anecdotal narrative, these tunes expose the band’s hot takes on modern qualms, resulting aptly in titles like ‘I Hate Myself’.

Starting with the glam-rock parody, ‘Rock and Roll Party Cowboy’, specifically the lyrics “Leather jacket, no sleeves. Harley Davidson, yes please”, the band immediately let us know we’re in for a ride, or, as the chorus chimes, a “big party”.

Then follows ‘Mortal Dread’, characterised by buoyant piano and a sing-along familiarity reminiscent of movie montages, which could otherwise be soundtracked by the 1970s reverberations of AC/DC. Spanning many audio ranges in 3 minutes 30 seconds, it finally leaves a positive taste in one’s mouth.

Maybe the most attuned to the band’s prior, pop fuelled anthems is ‘Don’t Need Sunshine’, working meticulously to the renowned vocal heights of Hawkins, before the album’s hit single, ‘The Longest Kiss’, follows suit, which charted back in September.

In the latter half of the release, ‘The Battle For Gadget Long’ spawns a further highlight, introducing some striking metal for the senses, which is soon intercepted by a robotic, break-out rap monologue, just to ensure we’re not taking anything too seriously. 

‘Walking Through Fire’ also boasts star-status, parallel even to the iconic ‘I Believe In A Thing Called Love’ – which even caught a second wind in 2024 – with similarly standalone guitar solos and a residual urge to attend the band’s upcoming tour.

Concluding with ‘Weekend In Rome’, a classical outro is performed as a necessary finale. Front to back, the album is a journey. Overall, I get the sense the band enjoyed making it. Hence, there’s something very loveable and therefore relevant about The Darkness, and to have them back is joyous. ‘Dreams On Toast’ is, well, just good fun.