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Class 6(66)

Dark Angel: Darkness descends

23/12/10  ||  Habakuk

Introduction

I had to check about four times until I could believe that this wasn’t in the Class6(66) section yet. I hope it was killed in K’s not-so-recent deletion spree, otherwise there would be no excuse for the existence of this sorry joke of a metal website. “Darkness descends” is probably among the best extreme thrash albums ever. Why “extreme” and not just “thrash”? Because I clearly draw a line between, say, the Bay Area regulars of the time period like Testament or Exodus, and Dark Angel’s sophomore release. That one’s a different ball game, which is played a lot faster.

Songwriting

8. Yep, speeeeeeeed! After the initial build-up in the title track and some fine grooving, things get fast, real fast. The Dark Angel-mobile apparently runs exclusively on coffee and amphetamines, but the guys keep things tight even throughout the comparatively long songs – special mention in that respect obviously goes to the 8-something minutes epic “Black Prophecies”, which clearly stands out because it takes speed down a notch and focuses on stomping rhythms instead. No matter at what pace, though, ungodly riffs follow each other seamlessly. This album is like a river of riffs (riffer?) poured at you from a mountain top. And let me tell you, once you’ve adjusted to the flow of things, you’ll like it.

Production

5. Unfortunately, the production is a small obstacle towards just that. Treble-heavy as it is, things tend to get a messy as we reach Mach 7. There is a low-end, too, so the bass is separable, but that doesn’t help much. Hi-hat and snare blur things together a bit too much, especially during the fast sections (read: 80% of the time). And with a more ripping guitar sound, this album could have been a lot better. Which is obviously true for all their albums, it seems that production was never Dark Angel’s strong side. Oh well.

Guitars

8. With an unusual, nasally buzzing tone, the guitars definitely are rather unique. The buzzing can obviously be explained by the insane speed that almost everything is played at, so you almost cannot make out the individual notes. I mean, listen to the guitar-only intro of “The burning of Sodom”, for example. It’s like the dude’s running over the fretboard with a grinder. You will be able to make out what’s happening after the initial shock, but the first time you hear it, it’s basically like chasing a really, really fast question mark – until they take it down a notch or so. Those slower parts, when the drumming allows some more space for the guitars, will click immediately – The riffing (and soloing) is flawless, absolutely uncompromising and awesome to boot. It’ll take at least a second listen to really get into everything they’re doing, though. Believe me though, once that has happened, it won’t get old too soon. Thrash riffing par excellence.

Vocals

6.5. Don Doty unsurprisingly has a hard time getting all his syllables into the framework set by the instruments, but he does a pretty good job overall. His snarly “normal voice” is awesome – I could do without the occasional high-pitched shrieks at the end of a line though, but they don’t ruin the whole thing either. This isn’t Hirax by a far stretch, just a very 80s approach to being “extreme”.

Bass

7. Audible all the time, and respect to Rob Yahn for keeping up with the rest, but this is definitely not a bass album, as keeping up with and following the guitars is pretty much all that happens in the low-end department. The intro to “Merciless death” of course must be mentioned, and it’s indeed quite good, but nothing that’ll make any jaws drop. So overall, good job serving the band, dear Rob. Your brass medal will be in the mail shortly.

Drums

9. Gene Hoglan anyone? The man behind the kit is as fast and precise as it gets, and his playing really drives the songs forward relentlessly. Not afraid of extensive double-bass use at the given time, unfamiliar with the concept of fatigue and obviously generally an impatient person, Hoglan bashes his way through the songs like a maniac. A fucken ace drum job, with the only setback being that it at times overpowers the rest. I can’t say that I consider this a problem, though, I mean, it could be keyboards.

Lyrics

7. Rather generic thrash stuff, with a loose focus on man’s depravity and how the issue can be solved violently and involving flames. Enjoyable and forgettable at the same time. A few classic lines are strewn throughout the album, too – I’m happy. Now where’s that merciless death you promised to give me?

Cover art

4. Paint by numbers gone fatally wrong. I guess the concept isn’t too bad…

Logo

5. Technically an awesomely cheesy logo, but again, the colors drag it down. Hard. Seriously, what the fuck? If I ever write a book about bad color choices (you never know, right?), this will be the centerfold.

Booklet

5. On the other side of the planet. Cannot look up. Promise it’s great. Probably. Just buy the fucker and find out.

Overall and ending rant

Long story short: “Darkness descends” definitely is an album that anyone interested in thrash must have heard, or rather own. Old news, I know. It’s an absolute and undisputable classic, and now the fact is finally recognized on GD (read: official) as well. Rejoice!

8.5

  • Information
  • Released: 1986
  • Label: Combat Records
  • Website: Dark Angel MySpace
  • Band
  • Don Doty: vocals
  • Eric Meyer: guitars
  • Jim Durkin: guitars
  • Rob Yahn: bass
  • Gene Hoglan: drums
  • Tracklist
  • 01. Darkness descends
  • 02. The burning of Sodom
  • 03. Hunger of the undead
  • 04. Merciless death
  • 05. Death is certain (life is not)
  • 06. Black prophecies
  • 07. Perish in flames

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