ALBUM REVIEW: Steel, Rust and Disgust – Midnight

Given his initial intentions for ‘black ‘n’ roll’ project MIDNIGHT was to only release splits and EPs, band mastermind Athenar must wonder how he’s got to the point where he’s now released six full length albums, built up a serious hardcore following and is now in a position where he can release an album of ten covers and two originals, such is the makeup of new album Steel, Rust and Disgust. But here’s the twist – this isn’t an album dedicated to those outfits who shaped Athenar and influenced MIDNIGHT, oh no – this is, as the man himself put it, a tribute to ‘bands who shared the same sights, sounds and sewage of my region of birth’, an homage to the heavy music scene of Cleveland, Ohio.

All cover albums have a story, that much is a given, but Athenar had been particularly clever here in not just giving listeners a window into the products of his home town, but also acting as a gateway for people to go forth and check out the original artists, many of whom can’t be located outside of YouTube uploads that barely have views in four figures. Opening number Cleveland Metal is one of the two original compositions alongside the title track – musically, it’s a straight up, classic MIDNIGHT track but its intention is to be a grand introduction like the opening, scene setting number to a musical, just with more riffs and growled vocals. When viewed in such a context, it’s perfect, and it gives way to a faithful cover of Iron Beast by 80’s metal band KRATOS, albeit one with added grit and production value; where the original shrieks, this one snarls.

Of the ten artists exhibited, only one will be recognisable to some – shock rock pioneer Screamin’ Jay Hawkins, with chosen song Frenzy used in an early series of The X Files; here, the Americana-infused blues track is given the thrash treatment and boasts a ripper of a guitar solo. Quite a number of tracks come from punk – Final Solution, initially by ROCKET FROM THE TOMBS, is a low-fi, unsettling track that exudes an anguished rumble; Athenar takes that and makes it far more menacing, the chorus line ‘Don’t need a cure, I need a final solution‘ sounding like a genuine threat to the world. Child Eaters by RUBBER CITY REBELS comes across as try-hard rebellion to shock conservative Christians in its base form; the MIDNIGHT version is unnerving in delivery and, at points, a touch disgusting with the over-the-top sounds of eating that bookend the song. There’s even a nod to outlaw country with a raucous version of David Allan Coe‘s Rock ‘n’ Roll Fever and a hat tip to hardcore with Carrions Keep; originally by 90’s outfit FALSE HOPE, this version is less abrasive, but makes up for that by giving it a SABBATH-esque stomp that is ripe for headbanging.

The best covers albums are recorded with respect and admiration for the originators and delivered with the hope that people will go away and listen to the tracks in their purest form. MIDNIGHT have not only accomplished both, but also shone the light on the creative works of a city that may not have spawned a huge movement like Seattle did with grunge or San Francisco with thrash, but still produced a rich vein of grotty, hard-nosed music that deserves to be applauded.

Rating: 7/10

Steel, Rust And Disgust is set for release on May 23rd via Metal Blade Records.

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