Darkest Hour announce new album ‘Perpetual | Terminal’ and share title track

Washington, D.C. quintet Darkest Hour — Mike Schleibaum [guitar], John Henry [vocals], Aaron Deal [bass], Travis Orbin [drums], and Nico Santora [guitar] — have announced their tenth album Perpetual | Terminal, out February 23 via MNRK Heavy. Pre-order it here.

The band has introduced the new album by sharing the video for the title track.

“This is a whole Darkest Hour album in one song,” the band says. “It felt like the perfect album opener, eventually became the title track, and therefore is the perfect place to start as we present this new album to the world. Lyrically, it touches on all of the themes of the record — an album centered around the duality of survival and rebirth. Or, you could just say, some new music from old friends who just won’t ever give up.”

PERPETUAL | TERMINAL TRACK LISTING:
“Perpetual | Terminal”    
“Societal Bile”
“A Prayer to the Holy Death”    
“The Nihilist Undone”    
“One With the Void”    
“Amor Fati”    
“Love is Fear”    
“New Utopian Dream”    
“Mausoleum”    
“My Only Regret”    
“Goddess of War, Give Me Something to Die For”

Darkest Hour hit the road today with Exodus and Fit For An Autopsy. All dates, which run through December, are below.

DARKEST HOUR ON TOUR:
WITH EXODUS, FIT FOR AN AUTOPSY, + UNDEATH: 
 11/15 — Fort Lauderdale, FL — Revolution
    11/16 — St. Petersburg, FL — Jannus Live
    11/17 — Destin, FL — Club LA
    11/18 — Little Rock, AR — The Hall
    11/19 — New Orleans, LA — The Civic Theatre
    11/20 — San Antonio, TX — Vibes Event Center
    11/21 — El Paso, TX — Rockhouse Bar & Grill
    11/22 — Albuquerque, NM — Sunshine Theater
    11/24 — Anaheim, CA — House of Blues
    11/25 — Las Vegas, NV — House of Blues
    11/26 — Tucson, AZ — Encore
    11/28 — Grand Junction, CO — Mesa Theater
    11/29 — Colorado Springs, CO — The Black Sheep
    11/30 — Lawrence, KS — Granada Theater
    12/1 — Sauget, IL — Pop’s
    12/2 — Joliet, IL — The Forge
    12/3 — Fort Wayne, IN — Piere’s Entertainment Center
    12/4 — Nashville, TN — Brooklyn Bowl Nashville
    12/5 — Cincinnati, OH — Bogart’s
    12/7 — Sayreville, NJ — Starland Ballroom
    12/8 — Hartford, CT — The Webster
    12/9 — Wantagh, NY — Mulcahy’s Concert Hall
    12/10 — New Kensington, PA — Preserving Underground

Darkest Hour, as a whole, have weathered time, trends, and tides of change and stand stronger nearly three decades since their formation. Their unique sonic style incorporates death metal exorcisms, thrash recklessness, hardcore punk attitude, and melodic catharsis at the speed of a circle pit.

“The record’s theme centers around the duality of survival while embracing rebirth,'” says Schleibaum. “We keep killing parts of ourselves to make new parts and survive. The story of the record is the story of the band. We’re still here, and we’re giving the world a body of work that’s representative of our music today. We’ve realized relationships, tours, good times, everything that seems to give life meaning, is terminal — and will inevitably end. Nevertheless, we’re 46-year-old dudes who love this music enough to put up with the trials and tribulations of being artists in a touring band.”

Darkest Hour clawed their way out of the DMV area in 1995. Throughout the ensuing years, they tallied tens of millions of streams and quietly built a diehard fan base. Canvasing the globe, they packed thousands of shows and touched down on every continent, save Antarctica. Along the way, they notably notched five Top 3 debuts on the Billboard Heatseekers Albums Chart. 2017’s Godless Prophets & the Migrant Flora marked the group’s third #1 bow on the latter in addition to crashing the Top 10 of the Top Vinyl Albums Chart. It also represented a creative and critical high watermark. Beyond praise from Revolver, EXCLAIM!, and more, MetalSucks rated it a rare perfect score of “5-out-of-5″ and hailed it as “the best album Darkest Hour have ever made.” New Noise cited it as “one of the best of 2017,” and Metal Hammer dubbed it “a monumental return.” PopMatters crowned it “a masterclass in following your beliefs no matter where they might take you.“