When The Darkness roared out of England with its 2003 debut Permission to Land and the hit “I Consider in a Factor Known as Love,” the music world was slapped throughout the face. The band reminded those who melodic laborious rock steeped in ’70s influences was speculated to be catchy, enjoyable, and typically outrageous. Guitarist Dan Hawkins, vocalist/guitarist Justin Hawkins, bassist Frankie Poullain, and drummer Rufus Taylor have simply launched Desires on Toast, The Darkness’ eighth studio album.

Classic Guitar caught up with Dan Hawkins.

How did the songwriting work on Desires on Toast? 
Very often, I’ve written the music, Justin the lyrics and melody, however we’re all collectively when it occurs, and soar musically and lyrically off one another, so even when Frank and Ru haven’t contributed chords, melody, or lyrics, we nonetheless break up the songwriting contributions. Rufus many occasions has performed a drum beat that has knowledgeable a riff or chord development of mine.

Has the way in which you all write modified dramatically over time?
We’re pushing one another to return to writing periods with pre-formed concepts. Now we have all contributed solo contributions to this album with every of us taking a flip to be the vocalist on our providing. 

You produced Desires on Toast and produced or co-produced earlier albums. What goes into that call, and is it straightforward or troublesome to step again and simply be a guitarist?
Producing has been an obsession of mine since a younger age. I needed to go to London after I was 17, with the goal of being a sound engineer, however issues didn’t fairly go to plan. I constructed a business studio in Norfolk when the band bought huge and had many established acts report there.

From the beginning of The Darkness, I used to be within the position of producer. I wasn’t credited, however I produced the primary album with Pedro Ferreira. Midway by means of, Frankie thought I used to be taking an excessive amount of management away from the band, so I stepped down. However when it got here to allotting credit, Pedro conveniently forgot that I used to be his co-producer for half of the album. I knew it was mistaken on the time, however didn’t say something, as I simply needed the band to do effectively and never rock the boat.

I’ve been on a mission to show myself as a high producer and never depend on engineers or combine engineers ever since! I’ve produced the whole lot I’ve recorded, aside from our Pinewood Smile album, which was produced by Adrian Bushby. It was magnificent enjoyable and Adrian is superb, however it was only for one album, as I’d had a child and was exhausted. It was actually enjoyable simply being a guitar participant, although! 

Desires on Toast has a wide range of kinds. “Rock and Roll Get together Cowboy” and “I Hate Myself” rock out. “Sizzling on My Tail,” with its acoustic-guitar strumming and catchy piano, is like nation rock. The straight pop influences are evident on “Don’t Want Sunshine” and “The Longest Kiss.”

My agenda as producer was to not make music for our viewers, however to observe the tune it doesn’t matter what type it was. We had upward of 70 songs on the slicing room flooring earlier than we even considered getting into the studio. The (Beatles’) White album was fairly an affect on us this time – the liberty to discover reasonably than provide our followers with extra of the identical. 

A brand new documentary, Welcome to The Darkness, covers the band’s highs and lows. How do you assume it turned out?
It was an enormous ache within the arse. Cameras on us for seven years! I don’t actually assume it got here throughout, how a lot enjoyable we’ve as a band. It was extra about choosing out the drama. Nonetheless, director Simon Emmett did an awesome job. I consider it extra like a wildlife documentary. We didn’t have a say in a lot. 

What guitars did you play on Desires on Toast?
I used a 2000 Les Paul Normal, a 2024 355 – my new fave – a ’64 Epiphone On line casino, and Atkin and Brook acoustics. My 355 is a lovely guitar I bought from the Gibson Storage final yr. It sounds fairly aggressive however with a lot persona. I can’t wait to play it dwell on the subsequent tour. Justin stored nicking it for solos, because it simply sings! It’s the sound of this album for positive. – Bret Adams

This text initially appeared in VG’s April 2025 difficulty. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.