Aural Fix magazine recently conducted an interview with VIRGIN STEELE frontman David DeFeis. An excerpt from the chat follows:
Q: I know you've spent a lot of time into the making of the upcoming VIRGIN STEELE CD. Can you share a little, or a lot, about what the fans can expect, regarding the overall theme of the album, upon its release?
DeFeis: "I am mixing now, and all is going pretty well. If the pace continues, then it will most likely be available in the autumn. Anyway… the new album is an epic work based on what happened to paganism and gnosticism and the desecration & eradication of the Goddess principle, due to the rise of the 'father-god' principle and then later the rise of 'organized' religions. It concerns Lilith and ancient Sumerian myths. It is a very dark work. It is perhaps even darker than the darkest VIRGIN STEELE moments. It is more nocturnal, autumnal, celestial, vampiric, paganistic, lunar, underground and in general more extreme. The brutality is if possible even more brutal (especially mentally speaking), and the tender moments are incredibly melancholy, tortured, forlorn and torn. It is a music full of eternal longing, suffering and regret. Long smoldering passions, lust and despair ignite, consume and die... In the end... a type of hope arises. Not always the 'all-conquering triumph ideology,' but a sense of merging with the perennial consciousness of the universe, where one day.... a rebirth of sorts might follow... a beauty born of grief. I am using more piano or acoustic guitar combined with very deeply tuned heavy guitars. Vocally it is very, very melodic, and I can be tender, aggressive, and bluesy. At times the vocal style is like the bluesy singing on the 'Life among the Ruins' album, only the music and melodies here are very, very different. 'Lilith' is verytmospheric. There are big epic anthemic pieces, with always sing-ble and memorable 'hooks,' but there is also a dark, brooding, moody, impressionistic, quality that manifests itself throughout. There is over-the-top orchestration, yet simplicity. Nothing is done for the sake of overindulgence, or complexity for complexities sake. Everything is in proportion, balance and effective for the feelings/sentiments in question. It is a new development, I think. A further progression of my compositional style."
Read the entire interview at this location.