Midnight Configuration | Parallel Worlds

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Parallel Worlds

by Midnight Configuration

This is without doubt one of the most dynamic and powerful CDs the band have EVER produced. Rare is the CD where virtually every song is a class A product. Every track is a blaster, designed to reinforce the band’s standing within the music scene, as well
Genre: Rock: Goth
Release Date: 

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  Song Share Time Download
1. The Fall Of Marianne
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3:08 $0.99
2. No Tomorrow
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4:11 $0.99
3. Inner War
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4:37 $0.99
4. Eternity
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4:41 $0.99
5. The Distortion Field
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4:32 $0.99
6. Something’s Coming
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3:49 $0.99
7. Parallel Worlds
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6:46 $0.99
8. Perdition’s Flame
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4:26 $0.99
9. Miranda
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3:32 $0.99
10. Surrounded By Evil
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4:34 $0.99
11. The Wrath Of the Sun
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3:06 $0.99
12. InterFEARence
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3:48 $0.99
13. Excommunication
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4:49 $0.99
14. Haunted
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4:15 $0.99
Available as MP3, MP3 320, and FLAC files.


Album Notes
Trev formed “Midnight Configuration” originally as a solo project back in mid 1993 with the purchase of his first sequencer. Shortly afterwards he put out his first solo CD maxi called “Gothtec”, a four track affair where Trevor did absolutely everything! Once the wheels were in motion Trevor started work on the second maxi “Spectral Dance” which was released on the 31st of October 1994 at the very first “Carnival Of Souls”, the famous Gothic/fetish festival then held at Rock City in Nottingham. This night also saw the debut performance of the “band”.

As time went on now famous then label mates “Suspiria” wanted to tour the UK and wanted a band to tour with them. So Trev formed a proper “Midnight Configuration” which consisted of Trevor Bamford, Lisa Ross (backing vocals) and Nick Hopkinson on guitar to tour with them! Shortly after this time the “Kissing Skull”, their highly acclaimed debut CD album, was released. It was a homage to Goth, horror films and fetishism which included a 28 page booklet of fetish/Gothic photographic artwork! This CD cemented “Midnight Configuration” in the Gothic public’s mind eye. Before that time “Midnight” was a solo project, now it was a band with a very strong identity. A lot of the imagery associated with the band revolved around the mesmeric and photogenic Lisa. The tainted sweetness vocaled ice queen of Goth. The famous “Dark Desires” t-shirt has gone down in modern gothic history for its shocking nature!

In August 1997 Midnight Configuration released their long awaited second album “Funeral Nation”. This CD was more explosive and dynamic than even the “Kissing Skull” album!

As the dust settled after the hectic release and gig schedules, Midnight Configuration released in Early 1998 the groundbreaking remix album “Digital Interference”, which features a collection of remixes and outtake scratch-mixes recorded over the period from “The Kissing Skull” to “Funeral Nation”. This CD was received and raved about across the board! The “Sanctuary” organisation of Switzerland named it as their album of the month!

The fame and underground credibility of Midnight Configuration finally reached the ears of US label giant, “Cleopatra”, who promptly commissioned Nightbreed to compile a Midnight Configuration “Best Of” called “Dark Desires”. The CD was released in the US in early 1999, and has brought the band a new underground US following as a result!


Early on in the year 2000, band figurehead Lisa left Midnight Configuration due to outside commitments. This change coincided with Richard C (MC’s studio engineer and occasional live keyboard player) and Trevor’s growing technical prowess in the Nightbreed studio. With Lisa gone, and technical skills improved, MC began to take on board new influences and to try out new ideas in a way unthinkable less than a year previously. Traditionally the vocal side of the band was always a “Heaven + Hell” sort of thing with Lisa providing the angelic female vocals and Trevor the Pitchshifted deep vocals. After Lisa’s departure Trev began to experiment with different vocal styles and moods creating startling results! The studio proficiency gave way to techno and industrial influences coming into the band alongside the desire to “crank up” the guitar. The end result of all this work is the album “Dark Hours Of The Southern Cross”. For the first time in the band’s history, MC were in total charge of every aspect of recording and production, making this album the most honest and true representation of Midnight’s music so far. The album was immensely well received throughout the Global underground, winning the band new fans alongside pleasing older fans of the MC sound. In many people’s eyes, this was the band’s finest release to date! It was certainly a best-seller for MC as the album had to go into second pressing less than a week after its release and is currently into its third pressing!

As soon as “Dark Hours Of The Southern Cross” was finished, Trev ploughed on with writing and recording material for the follow-up album entitled “Redemption Of The Physical World”, which was released on the 22nd of October 2001. This CD continued where “Dark Hours” left off but is at once harder, stronger, faster and darker than ever before! Truly a milestone recording!

Then after another turbulent year of working and reworking material, Midnight Configuration released “Sepulchre Rose”. This album is/was totally cutting edge with its blend of black industrial and electro Goth. Essentially an album that is VERY focused and in a lot of ways “back to the roots”, as well as cutting edge. The album is divided into two parts: “Disco At the End Of The Earth” and “Riders Of Darkness Upon The Sea”. Part one is a satanic blend of post-Gothic commercialism, electro Goth and darkwave dance floor. The second part is a satanic tour de force of banging electronic beats, cruel guitars, black industrial sensibilities and wicked, yet poignant samples. A truly original and heady mixture of pure, raw genius!


Entering “The Distortion Field”. Midnight Configuration in 2004-2005 then settled down to a three-piece and gone was the fetish stuff of past incarnations. The band were harder, nastier and more angry than ever. The guitars were louder in the mix and the programming more caustic and edgy than ever. The band were, as always, striking out against the world via their own brand of honed satanic, Gothic evolved industrial, using guitars and sequencers like scythes and fists against the confusion of reality. This album was without doubt the heaviest they had produced so far, and its release challenged and confounded the public in a way as yet to be seen for a band who was used to shocking its audience. Fans of the “traditional” side of the band were not disappointed as the usual elements of the band’s music was still in evidence, but so much more than ever before! This CD was the soundtrack of a nightmare, a realisation of truth for our times!


Shortly before Xmas 2005 Mark K left the band, and was augmented immediately by Estelle van Goth on visual keys, thus returning the much missed feminine fetish element to the band.


The band are working on a follow-up album to 2005’s “The Distortion Field” as well as the much promised visual projects hinted at by the band and demanded by the band’s fan base. So far we can reveal that there are approximately 8 new songs in development and there will be “tasters” from the forthcoming album released on compilations before the end of 2006, as well as on special websites for limited period download. In addition to all of the above, MC are planning a new and improved dedicated MC website in kindred to the www.churchofnightreed.com site.





New album title and release date t.b.c.


DIGITAL INTERFERENCE - 1998 (Remix album)
DARK DESIRES – 1999 (US market “best of”)
SEPULCHRE ROSE - 2004 (Russian Version with bonus tracks)



Band Members

Trevor Bamford
Nick Hopkinson
Estelle van Goth

Some quotes about Midnight Configuration

“Linda Blair and her demons within should be scared shitless of the sonic exorcism performed by the most scary band in the universe, at least I am!”
Ville Vallo (Lead vocalist, Him)

“British Goff? Let’s fuckin’ av it!”
Gian Pyres (Ex-Cradle Of Filth)

“…An utterly relentless rhythm drives thudding basslines and jagged guitar into the craniums of the assembled throng. In terms of sheer bloody-minded viciousness”
Damien (Terrorizer Magazine, Ex-Cradle Of Filth)


to write a review

Paul Marshers

This band kicks ass!!! Saw 'em in Mansfield
This band kicks ass!!! Saw 'em in Mansfield. Music is well off the wall, well intence with beats and riffs banging. Braaaap!


The Sun ain't gonna shine any more. Midnight or Noontide, dead time is here to stay. The moment has come to call it a day. We can hear the bells ringing all over. It's the point of transgression into the zero hour. Shedding human skin. The key is reproduced - we're desperately seeking for the gate. Learning to dream with electric eyes. Striving for control over the demons of chaos that never sleep. You can't bargain with the invisible: what you see is what you get. Any conscious your dreaming may become, you must be killed by a bull first to end it. The labor camp is here where the awake walk. The territory we defend. The problem with parallel worlds is that they give no shelter. They belong to infinity better be left alone. One dimension's enough for all of us that only want to leave their shadows behind. The door of perception opens inwards. The inner war cannot be won. Life is good but the only thing that matters is an elegant departure. On the wings of superstition if you are a Goth.

Once contrived the perfect formula of tyranny, there's no reason to search for a better one. It's no game to experiment under the volcano. You'd better pack your bag. The Treverend is a pro who could do no wrong any hard he tried. His world is quite unparalleled in today's essential scenery. MidCon is postindustrial gothmetal by definition but there's more to the echo than meets the ear. There's this militant fanatism of artificial ignorance to it that makes the noise sound like alarm in the middle of the endless night. Though both harsher and smarter than before, �Parallel Worlds� is a lot like another regular report about the state of noble decay - and who could ask for more. The analogous machine delivers its new goods with no change in the operating principle. Loyal to his loyals. It's a haunted record from the first track to the last, heroically prolonging the fall of the corroded subculture. Frankly, it could be the re-recording of an early demo. This act is not walking the usual path of gradual evolution. They go for the depths. Once ready - always ready. Evil rules.

Despite the increased distortion of the field, the latest effort is a typical neither-neither disc adjacent to its own distinct monolith in the valley of the living. It's demolished house music for raving ghosts. The rocks are steady and rolling over Newton . It starts fantastic and then keeps getting better. All tracks are equal in strength and length and composed with the radical simplicity of a veteran structuralist. Hi-fi reverb, spacey walls of shifting sound, hypnotic synthpop, symbiotic guitars, functionalist effects, percussive agitation, informative samples, Orientalist flirtations � everything's re-collected to coalesce in the unbeatable layering technique of the Nightbreeder. And of course the mantric incantation of The Growl: unrepentant voice of a teacher man promoting Atheist faith to pagan deserters with coldminded robotica. Perfection can grow boring fast but the man of all qualities pulls it off with gusto: the marching runes manic mid-tempo will violently awaken the opiated at each repeated listening like it was the first time. Groovy anthemic tribal psalms for the Palmarès of Hell. There's no ethereal female contrapunto this once, leaving the coherence prudently intact. The magic balance of dancing pentagrams is maintained by multiple reality's polar strings attached. Its manipulative power fuelled by pure hate firmly protects the project's progressive decadence. Long live the funeral nation on the run. This ticket is valid till Eternity.

Mick Mercer's review

Mick Mercer's review of Parallel Worlds


I'd not heard them for a while but it's good to know the nutters are still going, making noise some people wish they wouldn't, still utilising grumbling, grasping, rumbling, rasping alien vocals and with all umbilical pistons pumping, all nostrils flaring. On this CD, limited to a thousand copies, they've decided it's time to air what Trev claims is a concrete explanation for parallel worlds, which somehow concerns gravity. An expert, probably down the pub, told him this. Claiming to have a newly discovered firm scientific basis for this, he doesn't mention that in another world another Midnight Configuration must be doing the same, but claiming to have no basis in fact. There could be dozens of them, all releasing albums, some pointing out that for them gravity doesn't exist. Their CDs have to be tied down.

'The Fall Of Marianne' is a standard chomping Goth-Industrial rock hybrid with a rousing, dirty quality which serves as a catchy introduction, slipping into the fluid 'No Tomorrow', the synth as niggling as the hungry guitar is feasting on rhythmical divots, and because they've been doing this post-dance displays longer than most the marriage between noise and pulse is seamless. Interesting words gurgle out of pools of darkness, but with no lyric sheet I can make little out clearly.

'Inner War' is like doof hijacked, a simple beat with antagonistic guitar waves rivalling the vocals and stirring synth but the energised 'Eternity' is a rotating, spitting fury with a bumptious dance grind, the power pouring out of it. 'The Distortion Field' is even bolder with its flaunted, mean-spirited bass and weirdly cyclical vocal moaning chorus. The guitar drags it down bit, but it's a ghostly oil tanker of a song and nothing will knock it off course. 'Something's Coming' he wails, but doesn't know what. It could be demon termites, it could be a thousand Dale Wintons. A playfully bulbous throwback to their earliest style it's gloriously relaxed for all the spluttery drama, and for a moment 'Parallel Worlds' seems like a slow motion 'Heroes' with a lot of twinkly sludge stirred in, as befits a song where the singer can feel the texture of worlds slipping through his fingers. You wanna get that looked at. It's a jolly thing, with some morose twinges.

'Perdition's Flame' introduces the notion of a supercilious mockingbird laughing at the common herd which is fine, as the song percolates happily and the vocals aren't quite so distorted, which helps. Elegant, yet rowdy. 'Miranda' is a surprise resurrection, newly plumped up and spitting feathers, 'Surrounded By Evil' comes on like the never-anticipated Industrial Zydeco to start, but it's mainly evident in the volcanic twangy chorus. 'The Wrath Of The Sun' has a lot more frothiness wiggling through the pained expostulations which makes it's a lot less wrathy than required, the synth being positively creamy. 'IntrerFEARence' parades Cossack bluster to enliven dark curmudgeonly angst, but the plain Industrial trampoline that is 'Excommunication' didn't lash out enough for me. Although Midconfig-by-numbers it still manages to be dopey fun, then 'Haunted' snarks about with more than a touch of techno meltdown to it, reminding you that a lot of this is almost a games soundtrack minus weaponry.

I enjoyed this immensely, but then I always liked earlier MC material and ENDG, and Brother Orchid come to that. However, I didn't learn anything, about Trev's secret gravitational knowledge. (Hah, pull the other one! The boy's having a laugh.)

Don't go playing conker with planets. It creates a mess.

Underground Press

With their latest album, due for release on 10 July 2007, Midnight Configuration once again prove themselves as one of the most dominating bands in the darker music scene. Trevor Bramford’s ruthless tyrannical vocals are intensified by bombastic synth melodies, malicious guitar riffs and blood-spattering beats. Based upon the theory of other worlds existing alongside ours, this is a haunting reminder that we are not alone. “Parallel Worlds’ is a detonating force, like gasoline on fire with a unparalleled Gothic and furiously brutal sound that will reek havoc on the dance-floor. This is the band’s most possessed album to date!