Midnight, Night Demon, and Overthrow at New Cross Inn, London (England) 30/05/22

Midnight, Night Demon, Overthrow
New Cross Inn, London (England)
Live Review and Photography by Chris Galea

To put matters in context…shortly before it was due to take place, Manorfest got cancelled. This was a great shame since its line-up of bands was nothing short of impressive. From all the bands scheduled to descend onto Whittlebury Park in central England, the bands from U.S.ofA. were in a particular quandary so they quickly tried to book some club dates in England to make their trip worth the while. Night Demon and Midnight were two such bands – instead of a festival scenario they got to play in a much more intimate setting. 

So here we are and local band Overthrow were tasked with breaking the ice. In fact, as I enter the New Cross Inn, Overthrow are just finishing their soundcheck. 


Despite the fact that Overthrow have been around for quite a while, this was my first foray into the band’s music. Blackened Thrash is how I’d categorize the band’s music – a genre I’ve heard many times before but Overthrow performed with an impressively tight and angst-ridden conviction.

Yes, I very much enjoyed Overthrow’s set and the crowd’s reaction suggested I wasn’t alone in that. In particular the last song in their set (which I later found out to be ‘Altar Of The Fallen’) seemed to grab the audience by the scruff of their necks and rattle them frenziedly. Such was the band’s impact. 

By that point the venue was already packed….things are looking good….

Pure Death
Altar Of The Fallen


Night Demon

It’s been a while that I’ve been wanting to see Californian combo Night Demon perform live and tonight that wish comes true for the first time. The band’s music was different from that of Overthrow and Midnight….less aggressive but still very dynamic. Night Demon are directly influenced by the heaviest and most riff-laden bands of the NWOBHM. More to the point is the fact that I thoroughly enjoyed the band’s set.

As suggested earlier the trio had a very dynamic stage-presence and I had a hard time pinning them down for a few unblurred photos (always a good sign with Metal gigs). Night Demon always seemed to have an ear for the crowd’s mood and each song felt perfectly timed for the moment. Of course it helped that the band has such a great arsenal of songs in its repertoire.

Apparently the gear of Night Demon and Midnight got lost when the bands arrived in England (not a surprise really….the air travel industry has been in a shambles since Brexit). So kudos to both bands for giving the middle finger to adversity and making the most of tonight’s gig.

Screams In The Night
Empires Fall
Hallowed Ground
Kill The Pain
Howling Man
The Sun Goes Down
Dawn Rider
Are You Out There
Curse Of The Damned



For the benefit of Midnight virgins, the band (a trio…as Night Demon) plays a blackened Thrash with a Punk-like attitude. I had already been to Midnight shows before this night….always in festival scenarios….and to be totally honest I hadn’t been won over. However I have several European friends who heap praise upon Midnight so I was looking forward to re-assess this band. As the DJ stopped playing, the band members stepped onto the stage, and then…..all hell broke loose.

Besides the punters even the band members themselves stage-dived and crowd-surfed. At one point, while bassist/vocalist/band mentor Athenar was being carried from one side of the venue to the other, a member of the audience went up on stage to play his bass. I could have sworn I even saw a snare drum surfing the crowd at one point. The absence of any barrier between the audience and the low stage helped break down any psychological distinction between band and audience – it was one crowd, one Metal party.

From the street, the glance of a homeless man shifted from his bottle of booze to the venue’s transparent glass panes….his mind probably trying to decide whether he was witnessing reality or some alcohol-manufactured nightmare.

As Midnight finished their last number, the band members dumped their instruments onto the stage. Loud feedback echoed through the New Cross Inn as the trio walked through the spent audience and out of the venue.

It was a long time since I had last been to a gig with such a sweat-drenched and boisterous crowd thronging the venue. And I loved every moment of it.




New Cross Inn:

Disclaimer: This review is solely the property of Chris Galea and Ever Metal. All photographic images are the property of Chris Galea. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Video Interview with TYSONDOG

Midnight Album Cover Art

Video Interview with TYSONDOG
Interviewed and Edited by Chris Galea

Recently, Chris Galea got a chance to catch up with Kevin Wynn, bass player of NWOBHM band, Tysondog, to chat about the band, their new album, “Midnight” which came out on 29th April 2022, and what inspires them.

Check out the full video interview here:

Video Interview with TYSONDOG



Disclaimer: This interview is solely the property of Chris Galeaand Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Tysondog – Midnight

Midnight Album Cover Art

Tysondog – Midnight
From The Vaults
Release Date: 29/04/22
Running Time: 39:06
Review by Chris Galea

New releases from bands of the original NWOBHM tend to be hit or miss affairs in equal amounts. So the burning question is where does the new Tysondog album lie in this predicament?

First let’s take a step back….in 2015, Tysondog had returned to the scene with “Cry Havoc” – it was a very good album with some strong Metal belters. It showed promise. But somehow “Cry Havoc” doesn’t gel as well as this new full-length.

“Midnight” has Accept written all over it and this is a major selling point in my books. The raspy but melodic vocals of John ‘Clutch’ Carruthers and the giant riffs command you to bang your head and raise your fist in the air (hopefully not while you’re driving!).

Some songs…such as ‘Dead Man  Walking’ or ‘Paper Cuts’…didn’t enkindle my enthusiasm as much as, say, ‘Cold Day In Hell’…possibly the most complete song of the album. ‘Waiting For God’, one of the songs in “Midnight” that refers to God…either metaphorically or literally…has a very Doomy style and I liked that very much. Other themes the album’s songs deal with include horror scenarios and introspection.

My impression is that Tysondog wanted to record an album that the band members would enjoy playing live and, like a contagious disease, infect Metal fans with that fist-pumping spirit. It’s unashamedly old-school Metal and yet manages to sound modern and variegated.

This one’s a hit.

‘Midnight’ Official Lyric Video

01. Batallion
02. It Lives
03. Hellbound
04. Defiant
05. Midnight
06. Dead Man Walking
07. Paper Cuts
08. Cold Day In Hell
09. Waiting For God

John Clutch Carruthers – Vocals
Kev Wynn – Bass
Paul Burdis – Guitar
Phil Brewis – Drums
Stevie Morrison – Guitar


Disclaimer: This review is solely the property of Chris Galea and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Midnight – Let There Be Witchery

Let There Be Witchery Album Cover Art

Midnight – Let There Be Witchery
Metal Blade Records  
Release Date: 04/03/2022
Running Time: 34:50

Review by Rory Bentley

I’ve ruffled plenty of feathers during my time writing about music / generally being an obnoxious dickhead over the years. I can’t help myself, I was born a horrible little rotter with a big gob and it’s peeved plenty of people, but if I think something is derivative or painfully average and people are drooling over it I have to say my piece, and I usually phrase it like an absolute bell end. Just ask my new friends in Veonity. To illustrate what I mean, I think the last two Exodus albums are inessential cack with no songs, I’m never going to listen to the new Saxon album and I couldn’t give two shits about 99% of Thrash revival bands that everyone raves about. It’s predictable, boring and doing nothing to move things forward. SO WHY THE FUCK DO I LOVE MIDNIGHT SO MUCH??!!

Honestly mates, I’m not sure I can accurately answer that with anything more eloquent than they fucking rip! Sometimes the execution is more important than the idea and nobody executes evil, thrashed up proto-Black Metal with as much joy and shit kicking charm as Midnight. They sound like the band I want Venom to be. Don’t get me wrong – I respect Venom and their importance to the evolution of heavy music, but they can’t play their instruments and the records sound like shit. Midnight brings the cartoonish horror fun of The Misfits, throws in some NWOBHM riffing, filters it  through some Black Metal scuzz and chucks it back in your face with the grizzled swagger of Motörhead. The resulting mutant sonic ooze is something that even a snobbish hack weasel like me can’t resist.

‘Telepathic Nightmare’ has me tapping my foot and mean-mugging straight out the gate with mastermind Jamie ‘Athenar’ Walters barking ghoulish chants over disorienting Voivod style riffs. ‘Frothing Foulness’ sounds like Lemmy and the boys fronted by somebody suffering from severe tourettes and ‘In Sinful Secrecy’ sounds like a group of swamp monsters decided to form a Hair Metal band. Three songs in and I can’t get enough of this filth.

By the time the Garage Punk sleaze of ‘Nocturnal Molestation’ oozes out of the speakers I give zero fucks about the lack of innovation here, I just want to chug a beer and drop kick the can into my neighbour’s garden  while my better half screams at me to turn this racket down! You see the clever thing Midnight does is act as a sort of 80’s Metal magpie, shrewdly curating the choicest licks and gnarliest riffs from classic bands and blending them into a satisfying cocktail that makes every record feel like a greatest hits album of a forgotten Thrash legend. By casting the net deceptively wide into the annals of classic Metal, Athenar is able to season his core template of Speed Metal filth with spicy samples of satanic-panic staples so every song has a distinct feel even if it’s not deviating wildly from the core sound.

‘More Torment’ has a lurching Danzig groove that breaks up the more savage moments of ‘Let There Be Witchery’, while ‘Let There Be Sodomy’ has an evil sounding tremolo intro and the kind of chorus I wouldn’t allow my nieces to listen to. This is an album bursting with moments that will make you punch the air and grin like an idiot and those moments will be stuck in your head whether you want them there or not!

Like a kebab after leaving the pub too late, I don’t need a new Midnight record, but if you give me the option I will run through a brick wall to gobble one up. I’m shouting ‘Villainy Wretched Villainy at my cat now and I couldn’t be happier, so what are you waiting for? Give in to another helping of grimy, tongue-in-cheek, life-affirming speed metal written by one bloke with a bag on his head! You won’t hear a more fun 35 minutes all year.

01. Telepathic Nightmare
02. Frothing Foulness
03. In Sinful Secrecy
04. Nocturnal Molestation
05. More Torment
06. Let There Be Sodomy
07. Devil Virgin
08. Snake Obsession
09. Villainy Wretched Villainy
10. Szex Witchery

Athenar- Vocals, Guitar, Bass, Drums


Disclaimer: This review is solely the property of Rory Bentley and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.