Sunburst's 'Manifesto' - Album Review

Whilst I never exactly abandoned power metal, I think it is fair to say that over the past couple of years I have started to get back into the genre again in quite a big way after something of a lull in interest. Quite a lot of power metal can feel like the musical equivalent of fast food (i.e. satisfying but ultimately throwaway) and it is a genre that can be very tropey - with plenty of clichés and bombast repeated ad nauseam. Certain bands, such as Kamelot and Blind Guardian, kept my interest - but the cheesier and more upbeat bands started to grate after a while. I have been enjoying some flowery power metal again more recently, though, but one of my main power metal discoveries of late fall into the moodier, heavier category - and I am talking about Greece's Sunburst. The band's history can be traced back to 2010 according to Metal Archives, but I first heard of them earlier this month when I watched a review of their latest album Manifesto on the Sea of Tranquility YouTube channel. I had seen the album's striking album art floating around online, but I knew nothing about it - hence watching the review. When Pete Pardo was reading through the list of Sunburst's members the name Gus Drax jumped out at me. I was familiar with the guitarist from a very brief liaison I had with the Greek band Black Fate a number of years ago - as I remember picking up that band's 2014 release Between Visions & Lies due to reviews comparing their sound to Kamelot. It was not an album I ended up spending much time with, but I remembered Drax's name. Pardo then went on to say that the singer, who's name I did not recognise, sounded very similar to Roy Khan - and I realised that the singer here must be the same singer that sung on Between Visions & Lies. I was correct, as Vasilis Georgiou fronts both bands, and I assumed that perhaps Sunburst was either a successor to or a rebranded version of Black Fate. I was not correct on this front, though, as Black Fate still exist - and both Georgiou and Drax are still members. Black Fate, though, is largely the brainchild of drummer and songwriter Nikos Tsintzilonis - so it seems that Sunburst is a parallel project which Georgiou and Drax spearhead alongside bassist Nick Grey and drummer Kostas Milonas. Manifesto is the band's second album, then, and their first since 2016's Fragments of Creation. On the strength of this new release, though, I clearly need to go back and get the band's first album, too - as this sort of power metal is right up my street. Georgiou still very much sounds like Khan, almost spookily so at times, so there are certainly Kamelot vibes here - but this band is heavier than Kamelot (and, indeed, than my memories of what Black Fate sound like). There are strong Symphony X vibes here alongside those of Khan's 'other' band Conception and even the odd hint of heavier bands like Nevermore. Manifesto certainly sits at the more progressive end of power metal and it is heavy and moody rather than bombastic - although there are lush keyboards throughout courtesy of Bob Katsionis (Firewind; Outloud; Serious Black; Wonders; Stray Gods). This is very much a guitar-driven album, though, with Drax getting plenty of opportunities to shine.

The eight songs here are all generally longer than average, but with a runtime of just over 50 minutes the album does not outstay its welcome. It is bookended by its lengthier pieces, though, with opener The Flood the longest song here at just over eight minutes. The song opens slowly, with Drax's clean guitar melodies against an atmospheric backing. As Milonas' percussive drums kick in, a warm synth riff doubles the guitar melodies - and the song slowly builds around these ingredients before the band crash in proper. Like much of the material here, The Flood is generally mid-paced - but one of the main riffs here is full of kinetic energy, bringing Nevermore to mind, which Milonas backs with some snappy double bass drum patterns. Whilst Drax certainly dominates this album instrumentally, there is plenty of space throughout for Georgiou's voice to shine. His rich, emotional tone is a big part of why this album works as well as it does. The contrast between his Khan-esque delivery and Drax's knotty riffing helps to set the band apart from many other darker power metal bands - although Drax does often pull back during the main vocal-led sections. The verses here make use of that aforementioned faster riff, though, which keeps the track feeling snappy, whilst the pace slows for the chorus - which is perhaps one of the album's finest. Alongside the bands already namechecked, there are occasional Evergrey vibes here, too, and the chorus here sounds like a mix between Kamelot and Evergrey thanks to the mix of Georgiou's voice and the dryer guitar tones utilised. Given that there are strong progressive metal influences here, it is unsurprising that there are lengthy instrumental passages. These are not as technical or involved as true progressive metal, but a riff-led symphonic instrumental break helps to conjure up a different sound - whilst Drax later takes a lengthy solo spot, which is fast-paced and full of excellent technique. The lengthy and murky song kicks off the album in fine fashion - and it certainly sets the tone for the rest of the songs to follow. Hollow Lies perhaps feels a bit more direct, though, and it is certainly heavier from the off - thanks to a busy progressive metal-style riff and some explosive drumming from Milonas. Generally the atmospherics are less prominent this time, with the symphonics of the previous song often toned down to let the guitars shine. The verses, which are a little slower, are backed by some delicate piano additions and some dense keyboards, but Drax's stabbing guitar is never too far away - whilst the chorus this time is backed by some cantering double bass drumming and a slab-like riff which nicely suit Georgiou's rich vocals. All of the songs here are well-served by Katsionis' keyboard contributions - but the symphonics just feel less prominent this time. They are always audible and add a trademark melodic layer to root the band in the power metal camp, but this is not an album with flashy keyboard runs or pompous synth stabs. They tastefully add depth and emotion - often serving Georgiou's voice well whilst Drax provides a heavier contrast. That is the case here, with another high-octane guitar solo befitting the heavier riffing, whilst another chorus conjures up melodies to stick in the brain.

Samaritan also opens with another heavy riff and this time Drax throws in a few pinch harmonics to lean towards a slightly more modern sound. The song itself is pretty dynamic, though, and it contains plenty of light and shade. The opening riff and the subtle synth melodies which later join it are pretty technical and heavy, but the verses here are some of the slowest moments on the album up to this point - with Grey's bass a prominent part of an atmospheric backing to Georgiou's croon. The verses here are very Kamelot-esque, then, and it is amazing just how closely this band can sometimes mimic Kamelot's mid-2000s sound. This is not pure pastiche, though, as the riffing and soloing is much heavier and busier than on any Kamelot album - and this track is constantly kicked into a higher gear each time Drax returns to the fray. The chorus here is a faster and heavier one, which contrasts nicely with the more atmospheric verses, whilst the song later takes a left turn with some effects-heavy vocals interjecting between moments of symphonic riffing - creating a bridge to another excellent guitar solo. Following three heavier songs, it appears as if the album is going to take a slower turn with Perpetual Descent. This is not the case, however, as, following some chiming and slow clean guitar melodies, another heavy riff soon kicks in - although the pace feels much more deliberate this time. Whilst the the album is generally pretty mid-paced, the riffing moments tend to feel quicker. This is not the case here, though, with the whole song feeling much more measured - and there is actually a bit of groove to be found in both the riffing and the drumming. All of the songs here feel very vocal-orientated, but the slower pace makes this track feel even more so - and Georgiou delivers one of his best performances on the album during the chorus. This album is very memorable and easy on the ear, but it is not one that goes for extreme earworms or over-the-top hooks. As such, the songs take a few listens to fully appreciate - but the chorus here is one which does feel quite a bit hookier than some of the others. Georgiou's vocal melodies are a bit more up-tempo despite the measured approach taken musically - so the song is one that connected with me from the off. Drax solos as usual, though, but he feels little more restrained this time - and the song overall just is less full-on. Inimicus Intus ups the pace again somewhat, with the riffing and main melodic hooks feeling a little brighter overall. The keyboards are a little more prominent in the mix early on, adding nicely to Drax's riffing as the song kicks off, but the band have not suddenly morphed into Freedom Call. The trademark darker sound is very much intact, but Katsionis is given a bit more to do here - with some prominent piano melodies during the verses and the aforementioned synth warmth. Georgiou pushes himself a bit more vocally here, too, going for the occasional relatively higher note - which ironically reminds me of Khan's successor in Kamelot Tommy Karevik. This song just feels much more joyous than anything else on the album, although it does not significantly shake things up. The riffs have a little more bounce to them and Georgiou is less morose in his delivery. The change is welcome, though, and it helps to give the album some variety - which is never a bad thing.

Single From the Cradle to the Grave is the song I checked out before deciding to buy this album following watching the aforementioned review and I was hooked from the off. It is the shortest song here, and the only one shorter than five minutes, but it perfectly sums up the band's core sound despite this relatively svelte runtime - although the arrangement is perhaps a little punchier than is often the case here. The main riffing here returns to that heavier, dryer Nevermore/Evergrey sound which was hinted at earlier and there is much less of a focus on more progressive moments - with hooks pushed to the fore. Lush symphonics add plenty of depth, particularly during the verses, whilst the chorus has clearly been written to really bring the best out of Georgiou. The melodies are some of the album's most velvety moments and the chorus is one that is sure to stick in the brain from the off. Drax still manages to squeeze in a pretty lengthy solo, too, although it is perhaps not as intense as some of the others here. The song is great condensed version of the band's core sound, though, and the perfect entry point. The album's title track follows and immediately returns to flirting with a more progressive sound - with an opening riff which perfectly mixes mid-paced and faster sections together to inject a bit of pace back into the album. It is another track with a pretty dynamic arrangement, too, as the verses here are some of the album's slowest moments - with Georgiou singing against a backdrop of chiming clean guitar melodies and lush symphonics. His voice really shines during these sections, even if later verses are a bit more involved, whilst the chorus is faster, with a piano backing, which feels a bit more energetic than the rest of the song. This mix of sounds and speeds works well, and the song feels like one of the most progressive pieces here - with a busy bridge section and a spacey guitar solo later adding to the overall variety further. The album then comes to a close with Nocturne, a seven minute-plus piece which also goes for a dynamic approach. It is similar to what has come before but it does feel a little more epic and bombastic overall - with a cinematic, mid-paced opening riff and one of the album's most atmospheric and emotional-sounding verses. Everything here just feels a bit more intense and dialled up than anything else here - with the chorus going for a much more symphonic approach, with plenty of dancing strings which sit behind some heavy and staccato guitar riffs. The album has not really gone for such a sound up to this point, so it helps to give this closer a bit of a different feel - whilst Georgiou goes all-out vocally. Drax's guitar solo feels final, too, as it is much more deliberately-phrased than elsewhere. This fits in with the song's cinematic feel, as does a slow vocal-led section which follows later. The song is a great way to close the album, then, as it feels like a real final statement - bringing the best out of everyone involved. I think it is fair to say that Sunburst have been one of my favourite discoveries of the year so far and I can see Manifesto getting plenty more plays going forward. I need to check out the band's first album and I should also dig that old Black Fate CD out again -  and those who like their power metal darker and more emotional should give this album a listen.

The album was released on 14th June 2024 via Inner Wound Recordings. Below is the band's promotional video for From the Cradle to the Grave.