I’m going to admit that I didn’t like Midnight at first. I don’t know why they play this DIY style of Punk, Death Metal, and old school Thrash. Stuff I like and by this point they’re pretty fucking good at it.

Athenar is a workhorse, putting out a slew of singles, splits, compilations, even a live album, before he unleashed Satanic Royalty in 2011. They flew under my radar until I saw them live (I forget with who. It might have been Gwar…). Anyway, I didn’t get it. Poof, right over my head. But now… shit, I can’t get enough of these crazy Ohioans. Cleveland definitely rocks, in fact, so much that the first track on Steel, Rust and Disgust is called “Cleveland Metal”.

This is a covers album, which is fine; I can dig it. That means that only “Cleveland Metal”, the title track, is an original song.

It’s still Midnight playing though and the works of stalwarts Screamin’ Jay Hawkins “Frenzy”, David Allen Coe “Rock n’ Roll Fever” and Dead Boys with a ripping rendition of “3^rd Generation Nation”.

They fuck shit up on “Agitated” a scorching Electric Eels cover and Midnight makes it their own, sounding like Mötörhead on crack. “Iron Beast” is another baddie, a blistering rendition of Kratos’ track. There’s not a bad song on Steel, Rust and Disgust. I mean if I’m going to be honest, I’ve never heard some of these songs or bands. David Allen Coe is a fucking legend, as are the Dead Boys and Screamin’ Jay fucking Hawkins, hearing their songs in this manner is exhilarating and super fun.

The fact that you haven’t heard some of this is a moot point (I used moot for the first time in a review), but you know what I mean. “Carrions Keep” from False Hope and “Black Leather Rock” by the Electric Eels are automatic favorites.

To say that Steel, Rust and Disgust is an enjoyable record is an understatement. It’s an unrelenting banger, a tribute to the Rebels of Rock’ n Roll. “I’m Insane” by Synastryche gets a psychotic adaptation as does “Final Solution” by Rocket From the Tombs.

I am aware that Midnight’s fan base is rabid as hell. Fortunately for me, this has been a positive review, therefore securing my safety from any hate mail.

Midnight is in a class by themselves, that’s been obvious since the first album Athenar released in 2003 under the moniker of Midnight. Worship at their altar because they are gods. For you sickos that like Venom, Hellhammer and Bathory (pre-Viking era). Get it!

The thing is, for me and for the similarly-depraved out there who just can’t get enough spit-riddled, blood-and-probably-cum-stained sleaze, this is a good thing. I’d be ripshit if it were anything different. I’d probably riot.

At this stage in Midnight‘s long and, frankly, outrageous career – here’s where we’re at: A new album isn’t really any cause for Midnight mastermind Athenar to start pushing any boundaries. Fact of the matter is, he could even start recycling a riff or two and it’d probably be a minute before anyone really noticed or much cared (I’m by no means accusing him of this, I’m just making a point). True, the man himself did admit that he wasn’t totally feeling the output of Let There be Witchery – and maybe it was the slightly softened edges or even the hint at melody he injected into some of the tracks that put him off, because if you really want to get down to the brass nails here, Hellish Expectations is a decidedly more harsh affair. The Midnight sound has always been catchy and accessible (to a point), but this time around the production offers very little in the way of cushioning. It’s sharp, in-your-face, and lives directly in opposition to every advancement the world has made in the science of audio recording. Hellish Expectations is, at its core, Midnight at its most distilled and basic form.

To that point, “Expect Total Hell” very much rises to the occasion, immediately culling the likes of Venom and Hellhammer with an omnipresent spirit of Motorhead always lingering around the edges – Athenar makes no bones about his intentions with his first tortured, distorted scream, tossing any illusions of a gentler, restrained Midnight right off a cliff as he barrels ahead with signature simplicity – assaulting fans with the typical sort of fast, seething riffs that would fit the bill whether you were at a Black Metal or a Black Flag show, and the Rock n’ Roll as fuck solo just helps to set the tone even further, adding the kind of rock god machismo needed to make for an altogether sleazier, hornier affair. It’s the sort of frenzied, full-assault attack that makes a Midnight show the sensory overload experience that it is, which, is really the only reason for Athenar to keep writing new material, right? It’s all in service to the live show, which is ideally where one should experience Midnight in its full glorious mayhem anyway.

To that end,  I suspect “Masked and Deadly” could, and should become a new crowd favorite in short order, armed with a SUPER catchy guitar lead and possibly autobiographical lyrics that should immediately get stuck in any longtime fan’s brain. The more Rock-forward “Slave of the Blade,” and uber-catchy Motorhead worship of “FOAL (Fuck Off and Live)” also have all the hallmarks of becoming new live favorites, the latter boasting perhaps the most Midnight of all Midnight refrains of all time (I wish I could share the official video here featuring Athenar pretty much constantly flipping double-birds and ditching sticks to play drums directly with his fists, but apparently that’s all just too cool for YouTube to handle).

What has always endeared me to Midnight, and what Hellish Expectations has achieved in spades, is Athenar’s ability to reach out and appeal to the common metalhead. Prime example: a look at the track list may look like your prototypical collection of devil worshipping anthems and general misanthropy – and to be sure, that kind of thing is there for those that seek it – but it actually gets far more clever and, dare I say, wholesome than that. A quick glance and a track like “Deliver Us to Evil” could easily be mistaken as some mindless, throwaway metal trope, but the song is actually about ordering some metal records, sitting at home, and the anticipation of waiting for them to arrive at your doorstep. Like I said, very clever! And wholesome! And a feeling any metalhead, you, me or anyone else is all too familiar with!

That’s just one example Athenar himself has revealed, but it opens you to wonder what other kinds of normal, everyday headbanger shit he’s actually writing about. Is “Dungeon Lust” about finding yourself helplessly attracted to the new, mysterious Tiefling who’s joined your D&D party? Is “Mercyless Slaughtor” about the fictional metal band Merciless Slaughter from the “Mondo Metal” issue of the Teenage Mutant Ninja Turtles Adventures comic book series? Probably not! But it’s also not hard to imagine Athenar chilling in his basement reading comics while waiting for his last order of metal albums to arrive. The possibilities are endless! If there’s anything maybe I can convince you of that might change your opinion about Midnight, it’s that Athenar is you, Athenar is me, Athenar is the spirit of every average shmo who just fucking loves Heavy Metal. I think we can all appreciate that.

Athenar seems to have made a really concerted effort to trim any fat that might have been forming to make for a truly authentic Midnight experience, and the result here is another high-quality, no frills event that fits in to the band’s catalog of bangers like a fingerless glove. If this review seems a bit flippant or like I haven’t given it enough effort, it’s not because I don’t think it deserves attention – far from it. There’s just not a whole lot to say here that you probably don’t already know about this band, and talking excessively about it serves no one. So I’ll just leave it at this – Midnight fans, rejoice with me! Hellish Expectations rules. Non-Midnight fans, uh, keep doing your thing, I guess? Athenar is going to keep plowing ahead just fine without you the same as he always has.

Sick.

Seriously, for what its worth, who better to ring in the potential end of days, right? We’ve all been looking over at Vladdy-boy saying “Hey. HEY! Don’t do that! You’re gonna start some shit!” and the shirtless man-child coyly stuck his finger out and went “… nah I’m gonna do it.” and poked out the Jenga block at the bottom of the tower that was barely holding everything together.

Some people just want to watch the world burn.

So of COURSE this is when Cleveland’s king of fuck-all would reappear. Seems like an awfully big coincidence, no? I’m on to you, Athenar. I’M TAKING THIS ALL THE WAY TO THE TOP. Conspiracy theories aside, Midnight are back, bringing you more of that blasphemous, sneering punk-meets-black-meets-speed n’ roll that you’ve grown to love and need in your life. The audio equivalent of a cigarette held in the lips of the world’s most obnoxious shit-eating grin. And while I’m sure Athenar would tell you that the world has always been fucked, I’m sure he would agree that we’re living in a particularly appropriate time for this band’s existence. This time around, he’s leaning even further into the sleazy, sex-crazed side of things that has always been a part of the band’s persona, creating the soundtrack for the no-holds-barred, everything’s game mass orgies that can only exist in times where apocalypse is all but promised. “Nocturnal Molestation”? “In Sinful Secrecy”? “Let There Be Sodomy”? “Szex Witchery?” I’m flying half mast just reading the track list.

In truth, writing a Midnight review is an exercise in redundancy, meant only for the type of person that really loves hearing themselves talk. While I like to think I’m not that kind of guy… here we are. I mean, what can I tell you about this band or this record you probably don’t already know? Tracks like “Nocturnal Molestation” and “Villainy Wretched Villainy” prove Athenar is still the king of catchy-as-hell riffs, the latter boasting an infectious swagger that brings to mind everyone from AC/DC and Motorhead, to Venom and Hellhammer. And when he’s ready to get really down and dirty, “Telepathic Nightmare” and “Devil Virgin” are there to fill your void (heh heh) with an early blackened attack that rips the soul straight outta your asshole (with consent, of course). And speaking of swagger, “More Torment” is the heavy, rumbling, mid-paced anthem we all need to help assert our dominance through the oncoming post-apocalyptic mayhem. Midnight is not here to shock anyone with wild new ideas – they mean only to shock you with relentless riffing and a venom-spitting attitude.

One thing to give some credit for – Let There Be Witchery sounds pretty fantastic. While it’s not an ultra-polished exercise in overproduction (something that would be unthinkable for the likes of Midnight), its edges have been smoothed just enough to make it really a joy to listen to. It’s like when a dog loses its puppy teeth – it’s a whole lot more fun to play and wrestle around with, but make no mistake – it’s still more than capable of ripping your goddamned face off if you’re not careful. Let There Be Witchery is as glorious in it’s blue collar, no-frills-just-fun approach as any of Athenar’s prior work has ever been, and that’s really all you can ask for. When Putin fires the first nuke and the world quickly descends into a giant Mad Max Thunderdome cosplay, I’ll be glad I’ve got this gem added to my collection to help fuel my own self-preservative rampaging.

Basically No mercy for Mayhem adds a touch more refinement and rocking sleaze to the equation, otherwise it’s more of the same, serving as a worthy follow-up to the debut.  After an unnecessary introduction, Midnight storm out of the gates with the punk-fuelled thrashy gallop of “Evil Like a Knife”, which makes a strong statement from the outset with its simple catchy chorus and blazing riffs. Athenar’s riffs are reliably top notch, regardless of the tempo Midnight are operating at (mostly of the fast and furious variety).  His ripping solos, melodic flourishes and well stocked supply of thrashing old school metal riffs embellish the straightforward structures and simple but effective vocal hooks and choruses littered throughout the album.  Speaking of which, his decipherable rasp has plenty of character and amped up energy that incites sing-a-long action on tracks such as the rollicking ‘Try Suicide”, frenetic energy of “The Final Rape of Night’ and the rabid hooks of “Degradation”.  Meanwhile, the more controlled pacing on “Woman of Flame” shows a pleasantly restrained but still compelling facet of Midnight’s songwriting.

Despite an ample supply of banging tunes and catchy hook laden metal anthems, No Mercy for Mayhem can’t quite match the consistency or songwriting high points of Satanic Royalty. And although it’s only a mere six minutes longer, the album isn’t as perfectly concise or punchy as its predecessor, with a couple of weaker tracks cropping-up. Another minor drawback is with the production. Satanic Royalty had a sharp and crunchy live-in-the-studio sounding vibrancy that provided plenty of clarity and definition to the instruments without dulling the rough unrefined edges to the band’s music. In short, it was a near perfect sound for the band. No Mercy for Mayhem is a perfectly adequate recording, but its extra polish and tamer guitar tone takes away some of the raw spirit of Midnight’s raucous music.

There’s no shame coming in second best following a barnstorming debut. No Mercy for Mayhem is still very much a quality album containing all the stylistic elements and irresistible hooks that attracted metalheads to the band in the first place.  And despite falling short of their excellent debut, Midnight’s sophomore outing should have fans clambering back for more of the same addictive, thrashing fun.