It’s difficult not to form an intense dislike of the Darkness. Frontman Justin Hawkins is all hair, loud spandex one-pieces, and bad teeth. Musically, they’re as innovative as a used tea-bag. Yet something keeps you coming back to them, regardless.

On their debut, Permission to Land, the Darkness’ ostentatious nature at least came across as sincere. The band made songs like “Get Yours Of My Woman (Motherfucker)” come alive, with the yowling falsetto of “Black Shuck” primal and real. It was primitively recorded and basic glam rock, but it certainly came on with a rush.

By comparison, One Way Ticket to Hell...and Back is all about being loud, and brash, and in your face. Produced sumptuously by Queen collaborator Roy Thomas Baker, it ridiculously opens with a panpipe solo as introduction, followed by a sniff or three of a while powdery substance, before “One Way Ticket” riff-a-rolls into being. It’s a catchy tune, as are “Is It Just Me?” and “Seemed Like a Good Idea at the Time”. The closing “Blind Man” borrows entirely from the Queen catalogue, with Baker’s production perfectly on target.

Lyrically, there’s some hilarious asides – not least of all when Hawkins is completely obsessing over his receding hairline, as he does repeatedly throughout One Way Ticket to Hell...and Back. Who knows why second-rate songs like “Dinner Lady Arms” or “Girlfriend” were dredged from the Permission to Land back-block, because they’re pretty much inferior songs. Perhaps ousted bassist Frankie Poullain really did write the band’s best songs – he’s got five co-writes listed on this album despite not appearing on the recording. Too much of One Way Ticket to Hell...and Back apes the band’s debut without ever matching it.