Evermore

The kind of dark where most people would just call it black without looking twice, though the orange cast is there for anyone who does. 0557, from Vista Paint.

At LRV 7.0 the walls stop contributing light altogether and the lamps have to do the work. In dim, ambient light this reads as a flat, undifferentiated dark; it takes a direct light source for the orange cast to surface at all.

Next to it, white trim reads brighter and cooler than it does anywhere else in the house - the gap in light reflectance is what does that, not the trim paint itself. A natural scheme here moves in three clear steps: this color on the main wall, a noticeably lighter mid-tone for a second wall or built-in, and a near-white on the ceiling. Each jump should be obvious at a glance, not something you have to squint to tell apart (roughly 7.0, 46 and 85 on the light-reflectance scale, for reference).

On the wall opposite the room's main window, this catches the most daylight available and is the one wall where the color reads true rather than flat. Benjamin Moore Delray Gray makes a good second wall color here - different enough to read as a real choice, close enough to still feel related (about 27.9 points apart in light reflectance).

If the wall has any texture or repair work, matte is worth the trade-off even though it holds up to less scrubbing than a satin or eggshell.

By the numbers, Dunn-Edwards Mink (DE6392) and this color are indistinguishable - delta-E 0.88, well under what the eye can separate. This is a relatively uncrowded spot in the spectrum - just 2 colors from other brands come this close.

Nearly everything Vista Paint makes is lighter than this: 45 of their 2,742 colors sit below it. Vista Paint lists it in the C codes, alongside 1,421 other colors.