Virgin Steele
The Marriage of Heaven and Hell, Part Two

THE REVIEW

Metal music, as it is well known, is an extremely diverse and original universe. The musical genres present in this world are countless. In the early '80s, the two reference genres for fans were Heavy Metal and Epic Metal, from which legendary bands would emerge, laying an important foundation to build upon. One of the most important bands of that period was David DeFeis' Virgin Steele; in the first part of their career, they created a distinctive style of their own: Romantic Epic Metal. Nevertheless, it seemed that DeFeis and his companions had not yet reached their peak, with the key moment arriving in the mid-'90s with three concept albums that would definitively establish their legacy. Two were dedicated to William Blake's "Marriage of Heaven and Hell," and the third album was dedicated to the life of Julius Caesar.

The second part of the "Marriage of Heaven and Hell" is very important both to understand the group's music and to grasp their artistic journey in the years that followed. It was a decisive moment in their history, both musically and in terms of their lineup. In this album, you can admire an evolution compared to the preceding record: keyboards take center stage, guitar solos are not technical but rather elegant, with precise and pleasant arrangements. The result is vigorous music, very beautiful, capable of creating grand atmospheres.

The contrast is provided by DeFeis' voice: rough, gritty, and very spirited, which might not be to everyone's taste, but these very qualities make it effective and highly appreciated. This is evident in the open track, "Symphony of Steele," and in "Rising Unchained," these two tracks are indicative of the expressed sound. The high point is reached in the central part of the album with two pieces: first with "Prometheus The Fallen One" and then with "Emalaith." On these two pieces, it's important to mention an event related to the aforementioned songs: during the recording of the album, the group's longtime drummer, Joey Ayvazian, decided to leave. He was replaced by Frank Gilchriest, who played on only three tracks, including the central ones of the album (the third track is "Crown Of Glory"). You can note that the drums manage to delve better into the structure of the music created by DeFeis, providing great assistance that was then fully utilized in subsequent albums. "Prometheus The Fallen One" and "Emalaith" undoubtedly represent a stylistic peak, two deadly and extremely compelling songs. The final part of the album is of quality and holds up very well against a splendid beginning and an incredible middle part.

The overall judgment is excellent: a fascinating fusion between the atmospheres of Epic, rendered very complex and original, with a style and approach that nods to the old Heavy Metal. All of this in a period where other genres and other ways of playing were gaining the spotlight and the attention of the public and critics. DeFeis, going somewhat against the tide, succeeds in something that few would have been capable of doing. A great merit that makes Virgin Steele a group that is undoubtedly important in the history of Metal, capable of leaving behind records of absolute value.