Admittedly, opener Rock And Roll Cowboy, its riff reminiscent of Queen’s Keep Yourself Alive, initially appears to cleave close to The Darkness of old. That’s until the vocals begin. Largely pitched halfway between Bon Scott and Robert Palmer, they list rock accoutrements (‘Leather jacket / No sleeves / Harley-Davidson / Yes, please’) before arriving at the year’s most delightful rhyming couplet: ‘I’m a rock’n’roll party cowboy / And I ain’t gonna read no Tolstoy.’
Elsewhere, there’s a greater introspection from Justin. Musically, I Hate Myself cribs from Status Quo, but its lyrics speak of self-loathing as self-protection (‘I really hate myself, so you don’t have to’). On the surface it’s a break-up song, but hard not to also hear as the empathetic admissions of a man who wrought merry hell in the early 2000s, emolliating bridges in the process. Later, on Don’t Need Sunshine, its sparse arrangement gives the Justin of today more room to lay himself bare (‘I’m alive, and I love it / There’s nothing you can give to me that I covet’).
Some of Dreams On Toast’s most interesting moments, however, are those that really show the curious shapes The Darkness can twist their trademark style into. Hot On My Tail may read like a prime AC/DC offering, but it ends up being more hoedown than Power Up, a simple country stomp that juxtaposes nicely with some of the more sumptuous numbers.
However thick the slices are cut here, Dreams On Toast is spread to the corners with the familiar and the fresh, equal parts self-awareness and self-regard, resulting in their finest album of this, the second coming of The Darkness.
Verdict: 4/5
For fans of: The Struts, Airbourne, Steel Panther
Dreams On Toast is released on March 28 via Cooking Vinyl