I’ve heard it said that this American five-piece is doing “nothing groundbreaking, nothing exciting.” What’s more groundbreaking and exciting in a bloated melodic death scene than a release that stands decapitated head and mangled shoulders above its peers? The last thing Darkest Hour needs is another critic asking readers to understand that the group isn’t hardcore or metalcore or needlessly addressing the fact that they’re signed to Victory Records, so I’ll describe their sound with the following descriptors:  urgent, melodic, refined, passionate, honest, and chock-full of solos. They won’t bore you with elongated seven minute songs with two riffs and punk tendencies either. In fact, the group’s latest release, Undoing Ruin, is eleven songs deep and all of 37 minutes and 48 seconds. What makes Darkest Hour the definitive melodic death metal band is the fact that the group gives each song a unique characteristic or driving hook. I can’t tell you how many times I’ve listened to an album three times over only to find myself completely lost when coming back to it a week later. Songs will melt into each other to the point where I’ll sit there for a few minutes with one finger just above the play button while I try to figure out which song is which. Not so with Undoing Ruin. “Tranquil” is the pummeling track with the most transitions and the most delicately drawn out solos. Catchy and born from a more traditional songwriting structure, “Convalescence” is where the group finds itself coming as close to a ballad as it probably will in its career without sacrificing any of its integrity. “This Will Outlive Us” proves to be the album’s most solid ode to the Swedish sound Darkest Hour has been accused of cultivating in the past. “Pathos” is the mid-album, all-acoustic session that serves as a welcome break from all of the unrelenting speed. What more could a listener ask for? This is really as diverse as a melodic death recording is going to get without veering in cheesy experimental territory. Devin Townsend’s production here is on par with his back catalogue. His celebrated wall of sound style is as prevalent here as on his latest Strapping Young Lad release. Everything from the twin-guitar attack of Mike Schleibaum and Kris Norris to the frenetic but always fitting drumming of Ryan Parrish is pushed to the forefront without any other elements of the group's sound being cut from the mix. Even without the excellent production, this album would vie for a position in my top ten of the year. The vocals are passionately aggressive, the riffs are memorable, and all of the choruses are superbly crafted. Don’t shy away from this release because you’ve got your dirtied panties in a bunch over metalcore or because you despise the group’s label. At the very least, do yourself a favor; check out a few song samples and challenge your expectations.