Score: 68%

The Whigs are best known for their raw southern indie and garage rock trademarks; catchy guitar lines, boisterous chorus chants, and simple yet effective instrumentation. They are a band who echo the successes of the nineties, but add their own original twist. When comparing In the Dark to this preconceived notion of the band, it is blatantly obvious that something has changed in both their style and delivery. The departure of co-founder and writer, Hank Sullivant has no doubt altered their direction. Whereas previous records tended to sound monotonous, In the Dark has embraced different styles, allowing The Whigs to branch out and better showcase the skill and sensibility of the three-piece.

Right from the start of the record, the animated drumming of Julian Dorio shows vast progress since Mission Control was released two years ago. Where previously there was interesting, yet quite simple ostinato-based rhythms underlying the tracks, there’s now much more complicated and varying structures present. Dorio’s drumming forms the foundation for the band stretching out. Parker Gispert’s voice has similarly developed, incorporating a greater range of styles; the famed raw Georgian accent is still there but cleaner vocals and pitching are a welcome improvement.

Sullivant’s absence, and the wider stylistic changes of the Whigs, could disappoint the band’s original fans. But for the wider population the changes are largely an improvement. While transition between the tracks is at times harsh, the Whigs remain identifiable and engaging whilst tweaking the formula just enough. The simplistic, yet catchy, choruses still engage easily and naturally, but there’s a hint that there’s more to the band than this. While it’s not groundbreaking, In the Dark is a solid album from an improving band.