Photo credits: Hannah Verbeuren
Today I am reviewing something a bit different and that is a photo book by Hannah Verbeuren covering the band Midnight! It is an area that we have never really explored here at thenwothm however there is a first for everything and so here we are! For fans of Midnight this could be an excellent addition to a fans collection!
Photographer and road warrior Hannah Verbeuren presents a vivid, lurid, rabid history of mysterious heavy metal animals Midnight. Captured in live, portrait, and candid settings, the hooded band plays with fire, swords, and sex in settings ranging from European castles to the the smutty back alleys of their native Cleveland. Essays by Verbeuren and Midnight main man Athenar ring the bells and keep everything street. You will believe a band can fly…
This deluxe 120-page hardcover edition features stunning photography of Midnight, with a foreword by the band’s chief, Athenar. Showcasing over 160 color, black-and-white, and metallic print images, the book captures the band in both intimate moments and electrifying performances before massive crowds. Photographer Hannah Verbeuren, who toured with Midnight for over a decade, presents a collection of unseen and iconic photos, from house parties to Portuguese villas to some of the world’s most intense stages.
For me, this book captures the band in its purest form—raw, unfiltered, and unapologetic. It magnificently distills the essence of Midnight, presenting them exactly as they are: chaotic, untamed, and utterly electrifying. The opening imagery sets the tone for the book, using striking black-and-white shots, dynamic light trails, and intentionally blurred scenes to create a sense of unfiltered energy and atmosphere. These elements add depth, character, and a touch of mystery, provoking thought and pulling the viewer into Midnight’s world.
Band member Athenar then gives us an unfiltered, candid, and darkly humorous reflection on Midnight’s origins, sound, and visual identity, deeply rooted in the gritty, no-nonsense spirit of Cleveland. He discusses his love for stripped-down heavy metal, the band’s DIY aesthetic, and his disdain for overcomplicated music and industry expectations. He praises photographer Hannah Verbeuren’s ability to capture the band’s essence, both on and offstage, emphasising her skill in observing and documenting Midnight’s chaotic world. Through wild tour anecdotes, self-deprecating humour, and sharp commentary, Athenar paints a vivid picture of Midnight’s uncompromising attitude, relentless energy, and devoted fanbase.
The section “The road to fu*king hell” captures the band in their live setting. As I gaze upon the imagery I can practically feel myself at the shows. The shots emit heat and sweat, the crowds energy and sheer intensity from the band. Each image feels unpolished and to be honest that just adds even more character and feeling to each scene. There are moments where lights leave trails then there are images where you can feel the deep connection between band members and the crowd. Nothing feels tamed what so ever, just really wild and unleashed.
Section 2, “In the Garden of Pure F**king Evil,” brings the viewer up close and personal with Midnight, showcasing the raw energy and attitude that define them. The signature leather jackets, bullet belts, and black masks are all present, reinforcing the band’s unmistakable identity. Hannah Verbeuren masterfully places the members against backdrops that mirror their chaotic essence—under a bridge with a flaming guitar, against weathered stone walls with dark, brooding tones, and even against leopard print, playfully hinting at the band’s wild, untamed nature. One of my favourite moments is the contrast of the band members drenched in sunlight, lounging by a pool and playing near flowers. It’s a striking juxtaposition—completely at odds with their dark aesthetic, yet revealing an unexpected, playful side.
Readers who are easily offended should tread carefully, as the next section, “Total Trash,” takes a provocative and unapologetic turn. From trash bins and rusted barrels to strikingly raw imagery of nude women drenched in red light, these pages push boundaries. The band members appear bound in chains, surrounded by naked female figures who seem to be in control. The imagery taps into deep-seated taboos, blending elements of eroticism with the dark undertones of ritual. Are the nude women lying in a pile meant to be lifeless? Do the band members positioned beside them, or the burning upside-down cross looming overhead, hint at something more sinister? The line between art, rebellion, and chaos blurs, leaving interpretation in the hands of the viewer.
“Years of blood, sweat, and tears were poured into these 120 pages chronicling the life of Cleveland black rock ‘n’ roll legends Midnight. A Thousand Nights in Sodom is fascinating from the first page to the last, and I’m incredibly proud of Hannah for representing both herself and the band in such a gripping, entertaining, and sincere way!”—Dirk Verbeuren
“Back to the Show” takes us in yet another direction, offering a glimpse behind the scenes. After the intense live shots, the iconic band portraits, and the darker side of their persona, this section focuses on the moments before and after the show. Hannah captures the band in their most candid, unguarded moments—warming up, gearing up, and mentally preparing to take the stage. From quiet conversations in a mirror bar to getting dressed, her presence is almost invisible as she captures the band in their purest, most focused state. But then the mood shifts, revealing the band’s more playful and unhinged side—fooling around on monkey bars and striking a goofy pose in front of a goal to being on a telephone. These moments offer a refreshing contrast to the intensity of their stage persona, showing a lighter, more spontaneous side of Midnight.
The post-gig imagery beautifully captures a variety of moments: from a casual interview and the signing of a drum skin to candid shots of the band examining setlists. One standout shot features a member of Midnight posing alongside Abbath, adding an interesting dynamic to the scene. The section culminates in a excellent double-page spread that showcases the band rehearsing—one of the rare glimpses where you see them out of costume, offering a more personal and behind-the-scenes perspective. Once again you get a sense of Hannah’s photographic style which is certainly in the direction of gritty, authentic and unprocessed.
One of my favourite sections is “hells breaking looser” as we return to the bands live setting. Earlier in the book you see the sweaty, grimy small club shows where you see the band literally face to face with crowd members. But now we move to seeing a contrast between club shows and larger outdoor stages. And what is really striking is that no matter how big the stage is, Midnight know how to take control and deliver to the crowd. Through the smoke and the sweat Hannah seems to be perfectly placed capturing Midnight in the greatest of moments. These images capture the band connecting with fans on multiple levels and no matter where they are you feel the music resonating simply through the imagery. I can almost hear the music through these pictures, I can hear the crowds screaming and shouting, you can feel what is going on.
I love the powerful image of the band raising their instruments high, bathed in golden yellow light, standing amidst a thick cloud of smoke. There’s another electrifying shot of the bands guitarist leaping into the air, radiating energy, while another captures the guitarist on his knees, with the crowd serving as an epic backdrop. It’s a perfect depiction of living life to the fullest and having a blast on tour!
The book closes with a written section from Hannah herself and background information about each of her images. Hannah’s narrative in this section focuses on her strong connection with the band Midnight and her role as both photographer and collaborator. She remembers the first time she saw Midnight live, drawn in by their raw, electrifying energy. Cleveland, her hometown, is described as the perfect birthplace for the band’s tough, gritty sound, which mirrors the city’s no-nonsense spirit.
Hannah shares how she met Athenar, Midnight’s founder, at a local show, leading to a creative collaboration. At the time, she was finishing her photography degree and had an idea for a shoot, which marked the beginning of their partnership. As Midnight began their first official tour in 2017, Hannah not only documented the band’s journey but also helped with tour logistics, strengthening her bond with them.
As the band gained momentum, she continued capturing the highs and lows of life on the road, offering a unique perspective as a female photographer in a male-dominated space. Her insights helped shape the way Midnight’s sometimes controversial image was portrayed.
Hannah reflects on her ongoing dedication to documenting Midnight’s story, with plans for a book about the band’s tours, despite facing industry challenges. Her commitment to the creative collaboration with Athenar and the band remains unwavering.
In conclusion, after revisiting the book several times, I believe Hannah Verbeuren offers a perspective on the band that many might not see. What stands out is her honesty—she doesn’t sugarcoat things or present a polished, pristine version of the band. Everything feels raw and authentic, pulling you into the moment as if you’re right there with them. The imagery is as pure as it gets, and that’s what I admire most about her work. A large proportion of her work is unstaged; it’s all captured in the spur of the moment, in those unguarded, fleeting instances. The imagery speaks directly to the viewer, making you feel the energy and emotion in every shot. I love it and am intrigued by what her other works may present.
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