Virgin Steele
Nocturnes of Hellfire & Damnation

Since their debut back in 1982, Virgin Steele have been characterized over time by standing out strongly from other iconic epic genre groups. While Manowar were more direct and provocative, and Manilla Road and Cirith Ungol dark and mysterious, David Defeis's band managed to distinguish itself by defining its sound with strong symphonic influences, keyboard interludes, and evocative songs, along with the unmistakable and sharp vocals of the singer, features that can be best expressed in the period from 1986 to 2000, excluding the work "Life Among The Ruins." In 2006, the group released "Vision Of Eden," a concept album focused on the genesis of man, the power of God, and the story of Adam and Eve. However, this work differed greatly from previous releases as it saw a reduction in the role of guitars, used only as accompaniment or in brief solos, in favor of greater use of keyboards, an instrument particularly loved by the frontman. The resulting work was not exactly a flop, but it raised doubts among fans. Unfortunately, this change followed in the next album released 4 years later, "The Black Light Bacchanalia," where, if possible, guitars were even more absent. In 2013, the announcement of a new album had led to the belief that David Defeis, following the announcement of a return to the sound of "Invictus" and the two chapters of the saga "Marriage Of Heaven And Hell," realized the huge mistake he had made. The release of the single "Lucifer's Hammer" had given hope, and despite some vocal downturns, it was thought that this "Nocturnes Of Hellfire And Damnation" would finally represent the rebirth of Virgin Steele. It is sad to say, but upon listening, this rebirth seems to have worked only to a minimal extent.

Even though it has well-structured tracks like the single "Lucifer's Hammer," the darker yet successful "Queen Of The Dead," and the long and energetic "Persephone," the album is characterized by an overly, truly too excessive duration of the tracks, which upon complete listening, appear boring and lacking in zest. I am talking about songs like "Demolition Queen," which keeps the same rhythm without any change for almost 8 minutes, with Defeis singing as if he were singing a catchy piece from the '80s, or "The Plague And The Fire," where the guitars continuously play the exact same notes for almost the entire duration of the piece, culminating in a truly empty solo, or even "Glamour," where Defeis tries to reach pitches that his voice can no longer sustain, almost stubbornly, resulting in something akin to a cat trying to meow with a cough. It pains me to criticize the voice of one of my favorite singers, but it is what it is. As the CD approaches its end, the glimmer of "Delirium" finally gives hope for a well-achieved ending, and "Hymns To Damnation" follows more or less the same path as the previous one, while still facing the problem of the high pitches explained before, but with "Fallen Angels," I can say this album disappointed me greatly. A track that aims to be reminiscent of the glory of "Invictus," but it doesn't invoke joy; on the contrary, one hopes it ends as soon as possible. At least, that's the impression I had.

Condemning this "Nocturnes Of Hellfire And Damnation" is tough, but speaking of one of my favorite bands, I tried to be as objective as possible. Alternating a few well-achieved tracks with others that are truly dreadful and filler can't even yield a barely passing grade. What I hated most about this album was Defeis's continuous flaunting of trying to reach those pitches that are now practically impossible due to his age, and what I wish from him now is that he doesn't persist in singing in a way that seems ridiculous, to stop pointlessly harking back to the Defeis of twenty years ago, and to stop living in the past. You can't keep living by calling back the glories of the past, David.