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Haverghast Manor is the haunted house in the dreams of every budding/wannabe Tarantino, Hitchcock or Stephen King. It is the home of dreams and the house of nightmares. It is Amityville, the Yankee Pedlar Inn, the Overlook Hotel and the Bates Mansion. It is Belasco House, the House on Haunted Hill it is the epitomy of grandeur. Every nook, every crevice, every niche, every cleft, every cupboard door, every chandelier, in fact anything that has a shadow, no matter how small, or movement of any kind, has it's own personal squeak, squeel, grating, scritch, whine or creak. Midnight Syndicate have created 13 other studio cd's and one Live cd/vinyly LP, that covers every noise that make the bump in the night cause you to jump in the night. 

BLOODLINES creates and covers every scary, eerie, blood curdling, goosebump inducing sound your mind can imagine and then some. Almost any Midnight Syndicate CD will ensure your Halloween party or All Hallows Eve night doesn't pass without paranormal incident - even if it is only in your head. Bloodlines enhances any quiet period by chilling the blood of all who allow it in.

Midnight Syndicate have a YouTube channel which you really should visit. 

What follows is all I dare write ...........................



1. Bloodlines.
If you have heard Midnight Syndicate before their signature sound is immediately recognisable. Simple piano melody with an orchestral/choir harmony hovering around in the background brings with it an edgy serenity. This uneasy calm has an underlying intensity which pulses along as the chase begins. It hastens along, meandering as it builds up speed and then comes the realisation that whoever the victim is there is no escape.

2. Servitor.
This time a different melody but still simplistic piano notes, this time behind a powerful chugging beat. A tinkling, ivories or bells, echo, almost melancholy, as the opening lines for the story of Haverghast Manor are written.

3. Ancestral Decree.
After the initial heavy pounding beat a gentle piano catches the tide of driving, angry orchetral strings. As if moving onward towards a battle line a repetitive beat drives the pounding beat as it catches hold again and the intense size of the Manor is measured in sound.

4. I Won't Tell.
This is a harrowing sound. It feels like you are entering a room that once, long ago, belonged to a child. If you listen closely you can hear the pain that was committed in the room, the chilling silent cries and the heartbreaking dripping tears of the lost and missing with no voice of their own. 

5. Assembly.
The massive ballroom with it's twin sweeping staircases is set up and ready for the Grande Ball. The chandelier crystals sparkle as they are caught by the newly installed wired-in electric lighting. The polished wood floor has enough small lighted areas to enable vision from one side of the dancefloor to the other. Embellished tables and chairs with velvet seats and backs are set back from the dance floor in the dimly lit surround. Light laughter and soft, unintelligible, polite murmurring announces that the guests are arriving.

6. Wedding March.
This is a Wedding March the like of you have heard before. The Bride begins to amble slowly down the aisle, she moves agonisingly slowly to the strains of a Pink Floyd-like echo whilst a solemn choir chants in the background. To my ears the words are indecipherable, but to my brain, now afflicted by the imaginary strains of Gilmour and Wright, it sounds like "Bring Down the Wall". Is this a Wedding March or the March of the Dead? It is frighteningly beautiful.

7. Grand Waltz.
In all the deeply dark eeriness of the morgue-like sensation a frivolous Wurlitzer plays an almost jolly ditty. Is it a Waltz to begin the Grand Ball or is it the beginning of the descent into Hell. Either way, it is not joyous!

8. A Light in the Attic.
This opens with a recognisable 4-4 beat, Tap, taptaptap. Tap, taptaptap, the rhythm filled with the Choral/Orchestral sound that makes the magic of the Midnight Syndicate sound. Behind these musical voices are those Sleigh Bells (or perhaps Slay Bells), perhaps Satan (Santa anagram) has landed on the roof and is sneaking around in the attic? The sounds continue to build until they end abruptly to the heavy resonant echo of a singular gong strike. 

9. Sands of Time.
The music (is it 'life') bleeds slowly into oblivion, helped on gently but firmly by the fading of an offbeat Kettle-drum. For now Time has expired, but this is just the beginning of the Story. It continues through the Midnight Syndicate CDs 'The 13th Hour' (2005) and 'The Gates of Delirium' (2001). 

BLOODLINES is the 14th Studio album from Midnight Syndicate. It follows very quickly (and quite unlike Midnight Syndicate's release schedule) on the heels of their first live CD 'LIVE SHADOWS' (also available as a 12" light pinky-purple vinyl LP).

Studio albums (listing courtesy of Wikipedia)

Soundtrack albums



Collaborative albums

Live albums



The covers artwork for several Midnight Syndicate CDs were painted by one of the best artists to grace the Dungeons & Dragons role-play-game and Magic the Gathering cards. Keith Parkinson 1958-2005


© Chris Baylis 2011-2021