Tribuzy
Execution

This album is the debut of Renato Tribuzy as a solo artist; released in 2005, it boasts the collaboration of notable guests such as Michael Kiske, Bruce Dickinson, Kiko Loureiro, Ralf Scheepers, Mat Sinner, Roland Grapow (guitar) (ex Helloween, Masterplan), and Roy Z (guitar) (Rob Rock; Halford; Dickinson); on bass: Chris Dale, Dennis Ward. Sidney Sohn: Keyboards

The participation of these musicians already indicates the atmosphere: marked changes at the microphone and a carousel of guitar solos, where Loureiro's exoticism shines. The lyrics are almost entirely written by Renato, who has poured rage and aggression, but also imagination, into them.

The opener and title track, "Execution," highlights Renato's aggressive side along with his technique, with harsh vocal lines paired with others reminiscent of Ripper Owens, the latter sporadically. The lyrics are melodic yet hostile towards today's lifestyle, with a chorus in the style of Manson's "The Love Song." The following track and the one after that dilute the concentration through rhymed metrics and lyrics dedicated to the regeneration of the human soul. While "Divine Disgrace" is tasked with making the picture more rarefied again, especially thanks to Renato's best performance, with lyrics animated by a torn religious spirit; which sublimates in the subsequent "Absolution", the best of the album from a melodic-poetic aspect. Duetting with Renato is none other than Kiske's golden voice, who in this charade plays the role of the virtuous confessor and shoulder to cry on for someone worn out by a dissolute life; and his performance leaves emptiness behind, also due to the beautiful verses. The subsequent "Web of life" is another good performance by Renato, with a refrain this time similar to Edguy's "Vain glory opera".

Mat Sinner and Scheepers duet in the following "Nature of Evil" supported by the excellent Loureiro. It must be said that their contribution is of dubious taste, as they do not vary Renato's vocal lines by a whisker; quite the contrary for Dickinson: his timbre makes itself heard strongly, and the slow, dragged cadence is beautiful. Renato closes the album by reprising his characteristics.

In conclusion, the album is definitely monotonous in the beautiful lyrics; even Renato does not transcend much despite having a vivid timbre. Technically, considering the collaborations, there is little to say; the style is: harsh and rough.