Even though the album is intended to work as one piece, there are still some stand out tracks – the chilling “Darkness Descends,” gothic organ of “Gargoyles,” the epic, melancholy “Solemn Reflections.” Pretty memorable considering the source material doesn’t actually exist. It’s tough to draw that feeling of dread out of the listener’s mind using that instruments without coming across as cheesy, and while they come perilously close at times, they ultimately stay out of that spike trap. It wasn’t until Douglas hooked up with composer Gavin Goszka and (mediocre) fantasy artist Joseph Vargo and decided to go full-on John Carpenter that things got scary good.ġ998’s Born of the Night succeeds in conjuring the creepy vibe of Goblin, prime John Carpenter, and whoever did the score for Phantasm II (see: “Dark Tower”) using those artists’ weapon of choice, the synthesizer. A project dedicated to making “soundtracks to imaginary films,” its self-titled debut was a weird hodgepodge of different styles that never really cohered.
Midnight syndicate movie#
Apparently it was more fun to make the score for his horror movie that it was to make the actual movie, and so Midnight Syndicate was born. Midnight Syndicate started, unsurprisingly, as the project of an Ohio-based zero-budget filmmaker named Edward Douglas. Hell, the intro track to every Cradle of Filth record sounds like this, so why not a whole album of dark ambient stuff?
It’s not like this magazine doesn’t cover Zombi and other similarly metal-adjacent acts, especially when that music is made by dudes who clearly have an impressive collection of King Diamond and Dead Can Dance vinyl next to their collection of obscure 80s horror movie VHS tapes.
It doesn’t even have guitars! It is, however, close enough to qualify for this column. This week, we have a special treat (or is it a TRICK) for Halloween – the spine tingling ambience of Midnight Syndicate’s Born of the Night (Entity Productions).Īstute readers will notice that this particular entry is not, in fact, metal. Welcome to The Lazarus Pit, a biweekly look at should-be classic metal records that don’t get nearly enough love stuff that’s essential listening that you’ve probably never heard of stuff that we’re too lazy to track down the band members to do a Hall Of Fame for.
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