Guitars quite literally illustrate the opening action of “By The Light”, a group of paladins attacking an evil necromantic death cult. Their failure and the sole survivor Emaly’s efforts to avenge the deaths form the balance of Burning Sun’s Retribution (Metalizer Records), a Power Metal tour de force of a concept album in the vein of Helloween and my last album reviewed for Ghost Cult, Martyr. Pancho Ireland’s vocals maintain smooth power akin to Bruce Dickinson.

Pancho’s guitars keep up admirably with the uncredited speed drums. Zoltan Papi, the bassist and only other official band member (yes, two guys) created the story and lyrics.
The initial conflict resolves by the end of the second track, “Fight in the Night,” leaving space for “Aftermath” to slow down and allow Emaly the post-battle relief she needs. Well thought out, well executed, and so much production with overlaid tracks, you will not believe it’s a two-dude act.

The sound effects before “Cold Winds” place Emaly at a place of respite before launching into a lyrical paean to the cold winds of comfort after a devastating loss. Also, the guitar solos are divine. It closes with a synth set to “Harpsichord” before finishing with Emaly’s vengeful declaration “I’m coming for you.”

Now halfway into the story, we experience the uptempo introspection of “Heart of Darkness,” musically pure heavy metal with Pringles-crunchy guitars, some cute flourishes on the same, more speedy drums, bass just pounding, another bitchin’ solo, and solidly terrif vox. If this ain’t the single, I can’t wait to hear the one that is.

“Open Your Eyes” follows in a similar vein. The vocals occasionally work to maintain the story (which is not so easy to follow without a lyric sheet), but the guitar work. Oy! I mentioned the production; we get guitar harmonies. They engineered guitar harmonies. I may bother to look up concert footage to see how they do this stuff live. Either they’ve got some touring session guys, or the sampling machine is at risk of overheating.

I am loving this album, but there are places where you can see the work, as Glen Weldon (Pop Culture Happy Hour podcast) would say. It’s not bad, but it’s a thing where the effort to create the thing comes through along with the thing. Traditionally, artists strive to make it look easy, but when the effort shows through, you can see the work. Remember, I’m a critic first, fan second.

“Shadows Undone” bloody starts with the guitar harmonies. It’s not like they’re hiding it. The drums run at rabbit-heart speed, while the guitar solos get freakin’ better! I couldn’t tell you where in the story we’re at once the last track “Redemption” begins, but the song maintains the power and speed of everything since “Cold Winds.” The spoken word interstitial bit reveals some story, but the guitar solos that follow wipe that from your brain. The tune (and thus the album) ends with classical guitars and sound effects with a final twist I shan’t reveal.

Whatever your feelings regarding the story or its effectiveness, the music is the thing here. Despite the heavy-handed use of engineering trickery to accomplish everything, the fact of the limited members kinda requires that to get the sound they got. I’d have to do more work to find out why, but the frontman of Oh! The Horror once told me that band tours with a drum track instead of a drummer because they like the band the way it is and don’t want or need the fourth member. It’s a thing these days, I guess.

Growing up with the standard being four minimum (vocalist, guitar, bass, drums) with a few dropping the vocals-only guy for a three-piece, or five (Iron Maiden and others), odd acts being like Ska bands, or GeorgeClinton/Parliament Funkadelic musician crowds, two-piece acts stand out. Fortunately, Burning Sun stands out for quality; however they manage to do it.

Do ya like Iced Earth, Helloween, or Iron Maiden? I mean, do ya like metal? Then get your Retribution today.

Buy the album here:
https://burningsun.bandcamp.com/album/retribution

8 / 10
LARRY ROGERS
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