DAVID MIDDLE

“The serpent sleeps, but when it wakes. The world shall burn, the world shall break.“

To introduce David Middle is like descending into a void where night seeps into everything, refusing to loosen its grip, and where music is not simply performed, but breathed in and borne over time. Originating from Cambridge in the early 1980s, his trajectory was never meant for clear outlines or easy passage; instead, it carved its way through the unseen strata of the underground—persistent, unrefined, and anchored in the darker frequencies of the unseen.

Best known as the voice behind SENEX IV, Middle carries with him the spirit of gothic rock in its purest, most unguarded form—one of many vessels, alongside 13th Chime, Black Buttercups, Long Bone Trio, Moody Swing Things, The Final Scream, The Vanishing Point, and in his solo work.

Across decades, Middle has remained a constant within an ever-shifting landscape—never courting the spotlight, yet leaving a trace that endures. Far from a mere participant in the gothic underground, he stands among its quieter architects, leaving an imprint that runs deeper than it first appears.

And it is from within this same encroaching darkness that we, at Peek-A-Boo, find ourselves drawn into conversation with David Middle.

As I glance out of the window beside me, there are shapes moving against the fading light—bats, restlessly tracing erratic patterns through the dusk. As if something in the air has summoned them there.

David, a very good evening to you. Let me begin by welcoming you on behalf of Peek-A-Boo and thanking you for taking the time to speak with us. Given your long history in music, let’s go back to those first steps. What were your earliest experiences with making music, and what do you remember most vividly from that time?

Hi Hayley, and to you. Thank you for reaching out. When I was 14/15 years old in 1978/79, I spent all my time watching punk bands and the early post punk bands who became the pillars of what became the gothic scene. I was so inspired. I loved the music, the lifestyle and the individual way it encouraged many to join in. I bought a drum kit first. It took 18 months to have a full set. Money was scarce. My earliest memory was the excitement of learning to play drums and really enjoying performing as the vocalist of what became my first band called Final Scream.

And it turned out to be anything but a “Final Scream.” With this first band, you already found yourself sharing stages with names that would become iconic within the gothic scene—Action Pact, 13th Chime, and The Chameleons, to name just a few. Could you tell us a bit more about how The Final Scream came together?

We were school friends who all got into punk rock and music. It was the classic I will play drums, you play guitar, you bass and vocals etc. We used to band rehearse at my Mums house. Although, initially inspired by the punk scene, it was bands like Bauhaus and Siouxsie & the Banshees and the growing scene of "darker" more diverse bands like Southern Death Cult, UK Decay, Sex Gang Children and locally 13th Chime that influenced much more. We played our first gig in 1981. We played gigs with different singers for a while, but it was a struggle. I moved to vocals and Jon, the bands bass player, introduced us to Rich Beasley who became the bands drummer. This was our best line-up and led us to play many more gigs and to record the LOST ep four songs in Crow Studio in Surbiton London. When Rich left the band, we did continue to gig for another 12-18 months, but the first love of this "wonderful" band had begun to recede. Rich went on ultimately to drum for Gary Numan for 30 years or so.

You mentioned what would later become the gothic scene. Today, it has grown into one of the longest-surviving underground subcultures—but what was goth like in those early days, and how did you personally experience it?

The term goth was not really recognised or exist then. Post or positive punk were the early tags. I loved this phase of my early musical journey. It seemed to suit all my tastes of music, clothes and me lifestyle. Punk had become really dull with a uniform of studded black leather jackets and the music had become blunt and no longer as inspiring. "Positive Punk" led to watching many bands whenever I could. My dress code became mainly about black clothes, black hair, long and crimped hair, eye makeup and leather. I think that musical period between 1980-1984 reflects a real personal history for me.

13th Chime, with whom you also shared the stage, is another band in which you played an important role. In 1984, you stepped in as vocalist after Mick Hand left the band, and later, during the band’s reformation in 2015, you returned as drummer. How did you eventually become part of the band—and are there any interesting stories or moments from that time you’d like to share with us?

Final Scream was based in Cambridge and 13th Chime were based in Haverhill. Both bands ended in 1984. Gary and Ricky from 13th Chime came to see me at my flat in Cambridge and asked me to join them as Mick (the singer) had left to go travelling. I said yes. Rob Shaul, who is now the guitarist in SENEX IV, was playing keyboards in this new line up too. We rehearsed in Gary and Terry's shared house and started to write new songs over a few months. But everyone was tired and this new format never settled and ended. The positive outcome is that I went onto play in many other bands over the next decades with Gary, Terry and Ricky.

Around 2015, Mick wanted to reform 13th Chime. I agreed to play drums, Jon Rickard from Final Scream played bass and Rob Shaul played guitar. It was great fun for several years, playing gigs around the world. I enjoyed being a good step-parent to the early songs and a full parent to the songs we released on a new album called NOIR that we recorded at my brothers-in-law studio in Brighton called the Toy Room. The band members parted ways during the Covid period for a variety of reason, but one being that Rob and I were keen to write new material and we had formed SENEX IV. I remain delighted that Mick continues playing and gigging with 13th Chime.

My favourite moment, was the first gig we did with the reformed 13th Chime. It was in St. Pietersburg in Russia. The venue was a themed horror bar. So many people travelled across Russia to attend the gig, and the hospitality of the people was second to none. I guess no one will be playing in Russia again any time soon!

I can imagine that throughout your career, you’ve had to stay in quite a variety of places while on the road. Now, picture this: a concert unlike anything you’ve ever experienced before, taking place somewhere no human would ever believe exists. The day before the concert, however, you find yourself having to spend the night in a small, decaying inn where no beds are available. There are only two options: to sleep in a coffin, or to hang upside down. How would you choose to pass the night?

You are right, I have stayed in many different places when on the road. I do like your scenario!! It sounds like the plot of a gothic novel I’d definitely read. Do I worry about blood rushing to my head or back pain, I shall look at this purely from a "vibe" perspective. I’d go with the coffin. Hanging upside down sounds like a recipe for a very disorienting morning, whereas the coffin offers a bit of quiet and insulation from life and the decaying inn. Plus, if I’m heading to a concert that "no human would believe exists" the next day, a little vampire-style rest feels like the perfect warm-up. It’s all about the atmosphere.

Between The Final Scream and your later involvement with 13th Chime, there was also The Vanishing Point—a band deeply rooted in that same mid-80s scene, playing extensively across London and the South East. Rather than letting it vanish into the past, what still lingers from that chapter for you?

Yes, in the mid 80's and after the failed few months with 13th Chime then, I joined Vanishing Point. They were old friends from the punk rock days I mentioned. The songs were less raw than Final Scream and had more of a creative edge to them. We did gig a lot. Played with bands like Field of the Nephilim and Balaam & The Angel amongst others. Money was scare again. We only recorded 3 songs at The Enid's Lodge studio in Suffolk plus a number of demo base recording on a home-based porta studio. I was delighted when a small independent label in Russia and Poland released these Vanishing Point and Final Scream recorded songs, demo, live recordings. As with all these bands, they stopped before all the promise and potential could be truly realised.

You already mentioned SENEX IV while talking about 13th Chime—your current and perhaps most defining chapter. A project where dark stories unfold through a sound rooted in goth and post-punk. The name “Senex” carries connotations of age, wisdom, and reflection—were these the ideas that brought SENEX IV to life?

SENEX IV started in 2019. Rob and I wanted to write new music. I wanted to return to vocals in a band having played drums for many years in 13th Chime, Long Bone Trio, Black Buttercups and Moody Swing Things. Mark had played bass in Moody Swing Things and also wanted to do something different. None of us are young anymore. SENEX is the Latin word for age and wisdom. We chose it by design. There are four members of the band, hence SENEX IV. For the first album, Dolls House, I also played drums whilst we look for a like-minded drummer. Today, Jez is the bands drummer. We wanted to write new songs with no boundaries that reflected our musical past and heritage.

Speaking of past and heritage, we’ve already looked back on your long and varied path across different bands, but not yet on the music itself. If you were to assemble your own “Relics of the Crypt”—a kind of personal best-of collection—drawing from all the bands you’ve been part of, as well as your solo work (which I’ll return to in more detail shortly), which tracks would find their way into it?

I love that challenge!! Relics of the Crypt would be a good name for it. I will go for a 12-track album then. One side SENEX IV (5 tracks) and a solo piano based song, the other side, a track from most of the others. Some I played drums on; some I sing on. In no particular order then:

SENEX IV: Dancing Witches, Prophecy of the Black Pyre, Vampyre D'more, My Black Angel and My Sister is a Serial Killer. That is a track from each of our three albums and the latest single. They are all typical SENEX IV songs. A blend of our punk and gothic influences, real driving bass lines and drum beats, supplemented by a menacing guitar sound and catchy lyric tune and structures.

David Middle: Climbing Stairs. My first solo single. Written on the piano about the challenges of dealing with life's ups and downs.

Final Scream: Our Fragile Art. We did this in our only studio recorded session. The flange on the guitar makes it sound so sorrowful. The lyrics were inspired by a gig we did with Conflict where the gig turned very violent and it started on us!

Vanishing Point: Displaced Man. Again, we did this in our only studio recorded session. I love the feel of song. Reminds me a little today of a mix of Joy Division meets Bauhaus.

13th Chime: Witchtree Lane. First track we released with the reformed band. Love the intentional raw and low-fi sound. Echo's the band's original style. I enjoyed doing the backing vocals and adding the spoken Latin "spell" in the middle of the song.

Long Bone Trio: Peek-A-Boo-Widow. I loved the experimental trio structure of the band. Two fuzzy guitars and a human drum box (me). This track just has great abstract groove.

Black Buttercups: Animal in You. The sound of this track became so heavy, but rocks!

Moody Swing Things: Slap n' Tickle. Mark's bass line on this, just hits the mark. Gary's lyrics are just crazy and it was a pleasure to drum on this.

You mentioned finding your way back to vocals after many years behind the drums. This brings me to another, more imaginative question: back in the 1980s, projects like Band Aid brought musicians together for a cause. After the concert in that place no human would ever believe exists, you are approached by a pale, aristocratic-looking figure, who asks you to gather a group of artists for a rather unusual cause—one tied to sustaining those who dwell in the depths. Let’s call it “Vampyre Aid.” Which singers or musicians from the gothic scene—past or present, yourself included—would be part of the line-up?

What a fabulous concept - Vampyre Aid. All donations could go to the "Blood Donation and Blood Disorder Research" charity. Straight up first would be Bauhaus. Peter Murphy and Daniel Ash are both masters of their crafts. Then Adam & the Ants only playing songs from the "Dirk" album as it is a classic. My favourite drummer is Budgie. His style and look were so innovative and cool. So, Siouxsie & the Banshees with either McGeoch, McKay or Smith on guitar. Then Gang of Four with the original line up playing only songs from the first album. I loved Andy Gill's guitar sound. Then finally, Nick Cave & the Bad Seeds. Nick Cave's musical journey is epic and the full band, crooning sound of the Bad Seeds today lead the way. I would then add an array of the newer / smaller bands / artists who are still making exciting new sounds: Nox Novacula, Corpus Delicti, Pink Turns Blue, Belgrado, 1ST 1ST, The Editors and Black Doldrums and Cold in Berlin and so many more. I know that is a real mix!

Now, returning to your solo work. In November 2024, you released your first solo album, A Goth, A Piano & Songs of Sorrow. What stands out is the central role of the piano, which led to an album quite different from anything you had done before. Tell us more.

I love the vibe of being in a rock n' roll band. Writings songs require all members of the band to input and the final song is the sum of all the band members parts. I love writing songs. Not all ideas suit a rock n' roll format. I was keen to learn to write songs on the piano. It allows me a new creative outlet. Maybe in the future I will go on the road with this stripped back format.

The piano is ideal for writing sorrowful songs. I think piano music often feels intensely personal because it can imitate human sounds and it can produce muted tones as well as crashing, dramatic sounds, allowing a song writer to build a song from quiet sadness to a powerful emotional climax. I love all that. I cannot play guitar, but I can play the drums. I play the piano like a drummer, rhythmical, but the lyrics and melody drive my overall song structure.

For the first album, I called it "A Goth, A Piano & Songs of Sorrow" That is exactly how I wanted the album to sound. All 12 songs were written on the piano. I added bass for the bottom sound end and some strings for added texture. These sounds supplement the piano well. I sent a copy to Tomasz Woodraf who runs the Return to the Batcave Festival and Batcave Production label in Poland. He loved it, so I ploughed on. One of the songs on this album is a stripped back version of a Final Scream number called Final Witness. The rest are all new.

I was then on a role and started to write more and more songs this way. I was enjoying the creative process. I called the 2nd album "My Happy Place". This time, I wanted to build on the same format, but add drums and percussion. I had also been to several flamencos shows in southern Spain. So, I wanted to add an essence of the flamenco sound to some songs on this album. You will hear the Cajun drum box, castanets, handclaps, alongside side the traditional drums. I released two singles, Black Raven and Fragile and then released ten further songs on this album. Once again, I added a piano based version of a Final Scream track called Painting on the Wall.

That brings us to the present moment. What are you currently working on? Is there a new nocturnal chapter waiting to be unearthed—something to look forward to?

SENEX IV would like to play more live shows. We formed just before Covid , which did not help. Today, there are less and less venues and more and more bands from all decades wanting to play. Thankfully, there are some amazing promoters in our scene who manage festivals, club nights, gigs, radio shows and written reviews. Goth is a genre that refuses to die. As long as we all approach it with passion, there is no wrong way to create the music. SENEX IV plan to write and release new songs this year. At least another single or EP. I plan to record and release a 3rd piano based solo album. I have written 10 songs written and the recording sessions are booked and start tomorrow!!

Alright David, this has been a true pleasure. On behalf of Peek-A-Boo, thank you for guiding us through the unsettlingly beautiful vastness of your musical creations. Time for a well-deserved drink. I’ll leave the last word to you. Here’s to what lies ahead—and may it be as luminous as the deepest midnight.

Thank you Hayley and Peek-A-Boo for reaching out and for your support. Please keep up the spirit of independence and support of the musical under-dog. It was a pleasure to meet you. For now, I will raise my glass of red wine to toast you and anyone else who reads this. I guess my parting "words of wisdom" are: "The grave is but a cradle of shadows; I will keep writing songs until the darkness sings".

• SENEX IV | Bandcamp
• David Middle | Bandcamp
• The Final Scream | Bandcamp
• The Vanishing Point | Bandcamp
• Long Bone Trio | Bandcamp
• Black Buttercups | Bandcamp
• Moody Swing Things | Bandcamp
• 13th Chime | Bandcamp

Hayley CLX
15/04/2026