voila_la_scorie Way back in the eighties, there was an advert somewhere near the back of Circus magazine (or was it Hit Parader) for an album by a band called Virgin Steele. It was their second album, and the text quoted a review of their first album which expressed that it was "the album Judas Priest should have made." The original American releases of both albums were not available in Canada; however, two albums with different cover art and different track listings were to be found, and I snapped them both up fairly soon. Aside from the rough production, specifically for the debut, I though the music offered a lot of metal thrills, and there was no mistaking the outstanding high shrilling shrieks of singer David DeFeis.

The third album was "Noble Savage" and I'm afraid it was less to my liking. I dropped interest in any further releases, and though I stopped to check out the band's CDs several years later, the cover art convinced me that Virgin Steele had become darker and more sinister. I forgot about them.

Perhaps because I bought the second album, "Guardians of the Flame" on CD around 2010, "The Black Light Bacchanalia" showed up in recommended albums on my Amazon page. Curious, I ordered it and was rather surprised. Here was David DeFeis still puncturing eardrums with those shrieks that were high enough to challenge any first grade elementary school girl on the playground. The music was still metal, but there had been an obvious evolution in the Virgin Steele sound. I decided that i liked it, but didn't love it. Good enough for the one album; no hurry to get any others.

And now it's 2019. For the last two months, I've had my ears buried in eighties thrash metal, old school death metal, and the second wave of black metal. I've begun dabbling in power metal and slowly, little by little, adding to my doom and stoner metal collection. And for some reason, I suddenly felt like listening to "The Black Light Bacchanalia" again.

Thoughts! Impressions!

On this album, Virgin Steele are power metal by lyrical topics and presentation, not to mention the essential inclusion of keyboard piano or keyboard orchestra. But the music is not like the group sing-a-longs of some bands or the speedy and precise agility of others. In fact, I can't help but feel this album is more like a theatrical performance, with DeFeis playing the lead role of the protagonist and the lyrics serving as his monologue when speaking to himself or his enemies. To read here on MMA that Virgin Steele play "romantic-barbaric" metal really hits the minion on the head. The music is bold and at times forceful but it more often has a graceful caress to it than straight out brutality and force. It is the Noble Savage, swinging his sword sunward and striking a symbolic pose with pectoral muscles bronzed in the sun.

Though there are some cool riffs as well as some tremolo picked chords backed by double kick drum, there are plenty of chords struck and left to support the vocals. The drums can be a flurry of sticks at times but often they hold a modest place keeping a steady beat. My feeling at one point was like the music is a bit like driving a standard transmission sports car down a city street: sometimes you can speed up and swoop around in traffic but more often you're changing gears, slowing down and speeding up just a little as you deal with traffic and intersection lights. Again, the reason seems to be that the music is a theatrical performance with the lyrics and vocals taking the lead role.

DeFeis tends to sing in a calm, smooth voice throughout most of the songs. It's almost like the lines are meant to be whispered with conviction but need to be sung. He throws in some snarls and growls but more like a wild cat and not like thrash metal sneers and barks or death metal roars and bellows. He can also sing in a higher register and again does so softly as if to serenade the sorceress. Then there will be another one of those sky high notes.

The songs have a pretty decent length and at times almost seen more like progressive metal or symphonic metal. The keyboard piano (which I distinguish from real piano) does more than offer safe, pretty notes and in a track or two it takes over for the rhythm guitar as the primary instrument of melody. Some dramatic symphonic blasts give a grandness to certain passages.

I'm not familiar with Virgin Steele's releases between Noble Savage and 2010 so I can't compare my impressions here with other albums. But I feel thrilled enough by my return visit to have ordered another Virgin Steele album. This music is not for everyone. It doesn't have the rush and charge of thrash metal, the pulverizing assault of death metal, or the cold grimness of black metal. There might be too many abrupt changes in the music without a steady supply of full-on metal power for some folks. It does not have enough of that power metal conqueror swing to it. But if you've come to hear some of Virgin Steele's story telling and drama, then this album offers some rewards.