Review: Darkest Hour – Godless Prophets & the Migrant Flora


The Washington, D.C. melodeath/metalcore veterans in Darkest Hour have a new album, and they engaged Kurt Ballou of Converge on production duties. If that combination intrigues you, you’re likely to be pleased with the jugular-ripping – yet catchy – results on Godless Prophets & the Migrant Flora.

I’ll always associate Darkest Hour with those halcyon days of the early 2000s when combining elements of Swedish-style melodic death metal with influences from hardcore still seemed fairly novel and some marketing wizard had yet to proclaim the arrival of a “New Wave of American Heavy Metal.” The band caught my attention with their sophomore effort So Sedated, Secure and especially their full embrace of At the Gates worship on Hidden Hands of the Sadist Nation.

Over the years, as many of the other bands great and not-so-great who came on the scene around that time fell off the map, Darkest Hour carried on and evolved. The band moved farther away from hardcore and toward an increasingly melodic metal sound while going through its share of lineup changes – guitarist Mike Schleibaum and singer John Henry are the only mainstays. After their fifth album, the Devin Townsend-produced Deliver Us, and the departure of lead guitar player Kris Norris, I must admit I largely lost track of the group.

That changed in the summer of 2015, when I caught Darkest Hour on their 20th Anniversary Tour for a sold-out show at the Bottom Lounge featuring reunited Chicago hometown heroes Dead to Fall in support. Henry, Schleibaum, and company still brought the goods live and their performance sent me digging back into both my old favorites and the newer records I’d missed. What I found in the more recent output was a mixed bag: Darkest Hour had admirably grown and tried new elements in their songwriting, but – as is often the case with metal bands as they age – the newer albums lacked the urgency and anger of the early stuff. The self-titled eighth album was oriented around mid-tempo grooves and hard rock influences, almost entirely forsaking the band’s thrashy hardcore roots and emphasizing clean vocals more than ever before.

All of this is to say, I was very pleased when I saw Darkest Hour was getting together with Kurt Ballou at his God City studio to record their new crowdfunded full-length. I figured if anyone could capture this band’s energy in concert and restore some of the grit to their sound, it was the guy who helmed classics of metallic hardcore like Cave In’s Until Your Heart Stops and much of his own band’s output. I was also glad to hear Norris was contributing to the record – though Mike “Lonestar” Carrigan, who replaced him in 2008, is still the primary lead guitarist – signaling a connection back to the era when this band captured my attention.

Opening track “Knife in the Safe Room,” the first song released to the public, went a long way to justify my optimism. It’s a vicious, fast-paced ripper of a tune that immediately brings to mind the glory days of 2003, with the welcome addition of Ballou’s intense yet clearly nuanced production style. The riffage is concise and infectious, showing a return of the band’s speedy hardcore-influenced side, and complemented by a solo with shades of Kirk Hammett. Drummer Travis Orbin provides all the requisite propulsion, occasionally stepping back to punctuate the beats with a series of choked cymbal hits. Henry sounds as pissed off as ever over society’s excesses and injustices, calling out to “Drown any semblance/Of power, of privilege, of state.” It all resolves in a breakdown that’s chunky and aggressive without falling into cliche. Suffice to say, this is a promising start for anyone who is a fan of not just Darkest Hour but metallic hardcore in general.

The band keeps up the pace for much of the first couple minutes of second track “This is the Truth,” with a nice opening fill from Orbin and guitar parts showing off their continued appreciation for At the Gates-style melodeath, plus even an occasional tinge of black metal. However, the song brings more dynamics into play through sections of groove, a melodic interlude, and a soulful lead break. For “Timeless Numbers,” a snaking, mid-tempo riff predominates, bearing a certain relation to Converge’s own punky technicality. The slowed pace allows the bass from Aaron Deal (formerly the drummer of Salome) to come to the forefront. This song is one that comes closer to the stripped-down style of the self-titled album, but to my ears it’s made far more engaging through the greater complexity of the music and the unrelenting venom in the vocals.

Like the similarly named second track, “None of this the Truth” returns to thrashy territory, slowing down for a melodic interlude. “The Flesh & the Flowers of Death” feels like an outtake from the At War with Reality sessions and features  the best solo of the album. “Those Who Survived” is a hook-laden apocalyptic vision that brings to mind prime-era Lamb of God.

However, the album loses a little steam when seventh track “Another Headless Ruler of the Used” brings us back to early-aughts Scandinavia for diminishing returns. The solid chorus and solo can’t quite overcome the feeling that the song has crossed the line between enjoyably reverential and generically derivative. The next track doesn’t help matters, as “Widowed” is one of those instrumental interludes seemingly just there to remind us metal dudes have a sensitive side too by deploying a finger-picked acoustic.

Fortunately, the proceedings get more interesting again with the strong dynamics and melodies of “Enter Oblivion,” including an eerie, bass-driven break. “The Last of the Monuments” comes off like Dark Tranquillity with a touch of groove metal. This song also reintroduces understated clean vocals to the mix, offering welcome variety without suggesting any particular commercial ambitions. “In the Name of Us All” brings back the ferocity of the opening track while allowing the Converge influence to come through full force – the main distinctions being the vocal delivery and the speed metal solo. The album closes on a satisfying note with “Beneath it Sleeps.” The longest song on the album at 5:15, it nicely sums up where Darkest Hour currently stand in a display of high-velocity riffage, appealing melodies, and dynamic shifts all fired off with technical precision and unflagging passion. At last, the track stalks across the finish line with a muted, yet somewhat unsettling, extended outro in the tradition of Slaughter of the Soul.

The cliche of the new album as a “return to form” doesn’t quite apply here, despite the reference points in Darkest Hour’s earliest records and the fact that this is undeniably their finest work 2005’s Undoing Ruin. Godless Prophets & the Migrant Flora also bears the marks of the intervening years of experimentation and successfully brings in some fresh sounds, thanks to the collaboration with Ballou. This album often feels like the culmination of a long career from a revitalized band, but – more importantly – it’s a collection of hardcore-influenced melodic metal that would be impressive from any group. It may not break much new ground, but for those who enjoy this style, it will definitely give your neck a workout.



Godless Prophets & the Migrant Flora is out March 10 through Southern Lord.

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  • Señor Jefe El Rosa

    Great review, Dr. K. Very well paced and informative! Earlier today Southern Lord decided to make this announcement in regards to this album and the new Power Trip:

    “Were honored to be releasing the two best thrash albums ever recorded in god knows how long….Wake up to the real deal right fucking here folks!!! BANG TO SURVIVE!”

    Regardless of how misguided and asinine this statement is(UAR ANYONE?!?), from what I understand of your review Darkest Hour doesn’t even seem like Thrash. Someone in the SL crew teally screwed up today.

    • Dr. K

      Thrash is definitely a part of what they do, but I wouldn’t call it a “thrash album.” Such is the nature of hype, I suppose.

      • It’s thrashy but not thrash if that makes sense.

        • Brutalist_Receptacle

          Mock thrash?
          Faux thrash?
          Deception thrash?
          Artificial thrash?
          Pseudo thrash?
          Ersatz thrash?
          Quasi thrash?
          Bogus thrash?
          Illegal thrash?
          Sham thrash?
          Spurious thrash?
          Replicant thrash?
          Fraud thrash?
          Thrash kitsch?
          Apocryphal thrash?
          Phony thrash?
          Counterfeit thrash?
          Thrashy thrash?

          • None of the above

          • Brutalist_Receptacle

            Thrash not?

  • Joaquin Stick

    Awesome review JK. This is on my list of things to listen to next month. Really like these three tracks. My list of acceptable hardcore bands grows more and more each week.

  • Waynecro

    Excellent review, man! Thanks! I’ve always had mixed feelings about this band. I think I saw them way back in the day, but I don’t remember for sure. I mean, I know we (my filthy death-metal buddies and I) attempted to go to the show, but we may have been too obviously drunk to get into the all-ages venue the band was playing that night. I have clear memories of an emo-looking dude in an “I heart cock” shirt asking us to leave. The band is playing in my town in March, but I haven’t decided to go yet. I really want to see the opening bands (Rivers of Nihil, Tombs, and Ringworm), but I don’t know if I really want to stay for Darkest Hour. These new songs sound pretty good, but I don’t know whether they’re enough to convince me to spend a Saturday night at a concert at which I’m kinda “meh” about the headlining act. #Firstworldproblems

    • Dr. K

      Again, while I’ve felt ambivalence about this band’s output for a significant portion of their long career, I’ve never had a bad time watching them live. And Tombs are always good.

      • Waynecro

        I’ll probably end up going if I don’t have the dog that night. I play Ringworm in the gym all the time, so it would be pretty sweet to see them live. Then again, I’m already seeing two shows in March, and all that leaving the house is kind of a hassle.

        • xengineofdeathx

          Ringworm is the shit, and they are cool as hell dudes.

      • xengineofdeathx

        Saw them on summer slaughter in 09 and it was a great time.

  • Would you believe this is the first I’ve heard from this band? I live under several rocks whose mass increases in ascending order.

  • Pentagram Sam

    Saw em live in 2008 , Thrash n Burn tour. Really energetic live show. Lots o smoke and they musta had a platform behind the monitors cos band members would be jumping off em all the time. It was fun

    If I can’t find a way to fucking see Carpenter Brut during south by south chode, then I’ll scope these dudes-

  • These tracks sound better than I remember Darkest Hour sounding back in the day. Ballou must have the Midas touch.

  • FrankWhiteKingOfNY

    Really good review, dude!
    Darkest Hour never really did anything for me. Granted, these songs you just linked aren’t bad. Instead of the oomphless melodeath they used to play, they indeed went the prime-era Lamb of God-worship route. To be honest, I think LoG already perfected this melodeath & hardcore infused type of groove metal with As the Palaces Burn and Ashes of the Wake and I don’t see myself listening to another album in that particular style, but for what it is, it doesn’t sound too bad.

  • Actually had my fingers crossed for this to be a positive review. Undoing Ruin was one of the, let’s say, 10 essential gateway metal albums for me. I will absolutely be giving the whole thing a chance after your glorious review, Dr. K

  • HessianHunter

    I will listen to this record the whole way through primarily because I am obsessed with Travis Orbin’s drumming.

    • Guacamole Jim

      Dude’s a fucking beast.

  • Guacamole Jim

    Definitely liking what I hear so far! It’s always nice to hear metalcore/melodeath that doesn’t just sound like either Killswitch Engage or In Flames. Excellent review, sir!

  • xengineofdeathx

    I was a huge fan of them right up until the album after Undoing Ruin. Kinda wanna check this out from the sound of the review. I still listen to a fair bit of metalcore (Converge, Botch, Shai Hulud, Coalesce, Misery Signals, Norma Jean) I don’t care if it doesn’t make me Kvlt.

  • James

    Seen these guys in CLE this past week. I was there for Ringworm, Enjoyed Rivers of Nihil. They couldent get a lot of traction in their set. All bands told(Rotten Sound included) only pulled 80 people. Was kinda depressing.

  • NDG

    Good review. I have never really been into these guys despite a few of my mates really digging them but it just isn’t my thing.

    Also: “Dark Tranquillity with a touch of groove metal”