Now we are liberal with our innermost secrets, spraying them into the public ether with a generosity our forebears could not have imagined. Where we once sent love letters in a sealed envelope, or stuck photographs of our children in a family album, now such private material is despatched to servers and clouds operated by people we don't know and will never meet.

This mixture was to be effected either by drawing the juries partly from the senate (of about 300 members), partly from an album of 300 equites (Plut. CG 5.2, Comp. 2.1), or by adlecting 600 equites into the senate and drawing the juries from this new senatorial order (Liv. Per. 60).

When the album succeeds, such as on the swaggering, Queen-esque “Nothing’s Gonna Stop Us,” it does so on The Darkness’ own terms—that is, as a random ’80s-cliché generator. But with so many tired, lazy callbacks to its own threadbare catalog (including “Love Is Not The Answer,” a watery echo of the epic “I Believe In A Thing Called Love” from 2003’s Permission To Land), Hot Cakes marks the point where The Darkness has stopped cannibalizing the golden age of stadium rock and simply started cannibalizing itself. And, despite Hawkins’ inveterate crotch-grabbing, there was never that much meat there to begin with.

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