DOGMA

After a Genesis-like and specially Camel-esque album in 1992, this band added some new elements on composition and execution for their 2nd album. One of the tracks, the longest one and which borrows its name to the CD, is very similar to their first work. Considering that the other songs present very different musical proposals from each other, I'll coment one by one. First track is a great begginer, very powerful, with symphonic layers reminding Yes. Proeminent bass and superb variations between guitar and drums. Second track begins much more smoother, with the synth dialoguing with sounds of water. That doesn't stand for long and the acoustic guitar enters, bringing a refined group of melodies. When the piano and drums joins in, marks a constant rythm which announces that something different will arrive. Indeed, after the entrance of the bass and the guitar, this music brings some vocals. I took me time to get used to the theatricalized interpretations of the vocalists. So, this track is IMO the weakest part of the disc. Third track is a very sophisticated and gentle piece of music, with the participation of some guests on the flute, cello, contrabass, viola and violin. The composition gets closer to classical music, but not too much. It starts with a very engaging and relaxing flute, among with some string instruments, I suppose the cello and viola. The piano once again is very inspired. The executions are very unique, because I get the sensation that the pace will get faster sometime, but it doesn't, offering pleasent and memorable tunes. Fourth track starts with what is announced in the booklet as a mermaid vocal, and I agree that Titi Walter found the right spot on this part. Soon a passionate chorus serves as a backround for a solo from Titi. A furious and screaming electric guitar takes place, but in a short period of time, when a simple but captivating piano takes the front line. Even though the composition gets a little confusing on the second half of this song, it's stil a very good music. Track five reminds me of Styx , mainly the vocals and the rhythm section. So, it's kind of a stoner rock, a very good one, and the vocalist makes a good job. Track six, the last one to comment, initiates with some rain noises. You will also hear a door opening, steps. Well, looks like a scene of a story, but it's an instrumental piece, so I can't guess what it is about. A loud synth takes on, looking like the composition will go to a symphonic way. But it doesn't, because it calms down. More sounds like bells and gregorian chant assumes the music. A very passionate acoustic guitar makes some melodic interventions. The bass again finds the exact times to make his contributions. Unfortunately, Barão, the bass player, passed along at the age 35, some months after the end of the touring of this album. In spite of the fact that the other members remained on the music field, and even linked t progressive rock, the band didn't come back with a new formation.

Dogma is a pleasant sophomore effort by Dogma, sadly it remained their swan song. The first half of the album is more restrained, exploring lyrical themes and mellower territories. Guitar playing is competent and tasty, keyboard playing is proficient too, but some synth sounds are dated and typical for the prog of the 90's. "Born the witch" is a splendid introverted flute shaped number that is joined by epic mellotron. "Hymn" is the first very symphonic composition with some great instrument interplay. At the end, we have two more developed long epics of which the title track is a clear winner as there are plenty of guitar and keyboard progressive moments While being a competent effort, I failed to find an element that would split the music from hundreds of others and make it stand on its own.

Learning about that this band hails from Brazil, I expected inevitable Latin influences, something I respect, but have little interest in. Ah yes, music that booty shaking olive skinned girls find hard not to respond to. Well, this piece would leave them high and dry.

There are absolutely no Latin elements here, but the approach is as pure British as it can get. Largely instrumental work resembling the better moments of Genesis and Camel, it is a very impressive effort. one that I'd be happy to come across more often. Each musician are highly superb on their respective instruments and fill every moment with quality notes and attention, no filler material here.

This album is bordering on 5 star rating - if only they kept playing... Definitely worth checking them out.

Dogma was a relatively short-lived Brazilian band that recorded two fine albums during the nineties and then disappeared. The band's 1992 debut is a collection of melodic and tranquil instrumentals, the longest and most noteworthy of the 6 tracks being the 22-minute closer A Season For Unions. Dogma was clearly influenced by Camel, with Fernando Campos's guitar work highly reminiscent of Andy Latimer. There is nothing here to offend the ears or to lower the spirits; this is music to calm and soothe.

First track, Beginnings, is fairly run of the mill with nothing to set it apart from a host of other Neo-Prog tracks. Things improve dramatically with the carefree Clouds, which features a guest appearance by Sagrado Coracao violinist Marcus Viana. After a minute or so of atmospheric guitar/keyboard noodlings, the main tune is characterized by the expressive and voice-like tone of Viana's violin. As the tune drifts along it perfectly captures the image of passing clouds. The opening of Night Wind sounds like Watcher Of The Skies, one of probably countless song intros that do so. Thereafter it's another pretty nondescript Neo-Prog tune. Dogma must have liked the opening section of Seven Angels In Hell, because they virtually replicated it on the title track of their follow-up album Twin Sunrise. Ok, so they're maybe not the most original of bands. In my view the penultimate track, Movements, is the main highlight of the album. The hauntingly seductive guitar of Fernando Campos should warm the cockles of even the coldest heart. That leaves the aforementioned A Season For Unions, which is overflowing with romantic themes that Dogma brings together faultlessly. Following hot on the heels of Movements, these two tracks provide a very strong finish to the album.

In summary, this is a spirited and genial offering from one of Brazil's lesser-known bands. It's on a par with the band's second release, so it merits the same 4 stars I gave that one.

Twin Sunrise (1995) is the second, and sadly last, album by Brazilian 4-piece band Dogma. The music on offer here is very much of the melodic and harmonious variety. Not to everyone's taste admittedly, but certainly mine. None of the regular band members sing so a few guest singers handle the sparse vocals on the disc. The album is a nice mix of short and long tracks that range from the 4- to 12-minute mark, with the longer ones having plenty of room for thematic development.

The album opens with Midday and the first impression I get is of the similarity to Camel. In particular, Fernando Campos's elegant and highly emotive style of guitar playing has strong echoes of Andy Latimer. The track builds to a climax just beyond the midway point, where it changes and the keyboards become more prominent. I'm then reminded of fellow Brazilian band Quaterna Requiem thanks to the synthesizer and organ runs. All in all then, a very pleasant and melodic track to get us under way.

The Search includes some vocals by guest singer Titi Walter, although the song reaches its halfway point before we get to hear her. Before that we are treated to a delightful Genesis pastiche. Beginning with slightly under two minute's worth of atmospheric keys and acoustic guitar, the song then progresses with a gradual crescendo that features piano arpeggios and drumming that sound like they came straight out of the Tony Banks and Phil Collins repertoires. However bass player Barao's highly distinctive 5-string prevents the track from seeming like a complete Genesis clone. Mind you, once that Steve Hackett-style guitar kicks in... Anyway, Titi's voice is lovely and is perfectly suited to the music. There are a few brief growls and laughs courtesy of keys man Renato Coutinho before a Campos guitar solo rounds things off nicely.

Guest string players and a flautist feature on Burn The Witch, an instrumental that to me sounds a bit like Anthony Phillips. I'm conscious of the fact that I'm drawing a lot of comparisons here. However the guys in Dogma aren't mere copycats, I'm just trying to give a general sense of how they sound given that they're relatively unknown. Anyway, Burn The Witch then finishes with some heavenly choral effects. Think of Enya and you won't be too far away (again with the comparisons!).

The sound of waves lapping and 'mermaid' vocals introduce Hymn. After a couple of minutes of this plus further choral effects, a raw guitar riff bursts in accompanied by military drumming. This song isn't the longest on the album but it's probably the most varied. Gentle guitar and piano lead into the next section, which has strong echoes of another fine Brazilian band, O Terco.

This album might have been a contender for a 5-star rating but for the next song, The Place (Where Are You?), which features guest male-singer Guilheme Bizzotto. The synthesizer/drum intro sounds like Van Halen's Jump, while the main part of the song is firmly in AOR territory. This just sounds so out of keeping with the rest of the material here.

Normal service is resumed on the following track, The Landing. Two or so minutes of sound effects introduce acoustic guitar along with a distant-sounding Benediction. We are then treated to more military style drumming from Daniel Mello and a synthesizer tone that seems to mimic bagpipes. The tempo speeds up with the return of the acoustic guitar and there's a brief electric solo to finish.

The title track is the longest here and it closes the album in grand style. There's no need to describe this one, as the mp3 is available here on ProgArchives so you can listen for yourself. This track actually gives a fairly good indication of the remainder of the album. If you enjoy highly melodic but none-too challenging instrumental music you could certainly do worse than this album. Bearing in mind that I'm a fan of bands from South America, I'm going for 4 stars. It's just a pity about that one song that seems out of place, but an excellent album nonetheless.

Instrumental neo-prog?...Yeah,why not,and that is coming from Brazil...and it is really interesting as well...With the collaboration of Marcus Viana of SAGRADO CORACAO DA TERRA on the violin,DOGMA deliver smooth,melodic,easy listening,yet perfectly arranged instrumental symphonic prog that will heal your ears...Not something that could be considerd as a masterpiece but also very far away from boring instrumental efforts...Their debut is clearly british influenced with bands like CAMEL,PENDRAGON and CYAN coming to mind during the listening of the album...Maybe the best comparison would be a more sophisticated and melodic version of their native band TEMPUS FUGIT...The highlight of the album in my opinion is ''Movements'' with the last section of the track being a very emotional one...Nice addition to any prog collection,this one earns 3,5 stars from me and I'm begginig searching for their second (unfortunately and last) album...

I seem to continue liking this record after already a dozen years or so, even though it's not the most "grab your throat" complex prog workout available. More like a trusted companion by virtue of apparent modesty and an uncanny desire to please. Masterpiece ? No not really, but a definite should have. Opener "Midday" serves up an appropriate introduction, a shining upbeat instrumental that showcases the identity of the crew, with prolific 5 string bass runs, majestic guitar excursions, sparkling melodic keys and dynamic drumming. Being from Brazil, this is no hurry-up kick-ass prog but truer to its warm cultural heritage and spirit, they set a languid, relaxed pace best displayed on the next opus "The Search", where cool exploration yields some fine piano tinkling and exciting axe ripples, featuring guest female vocals (aided by some weird noises and laughter) and offering up a grandiose finale. Next up, the enthralling "Burn the Witch", where a string quintet settles comfortably with a delicate flute, a breezy little ditty, so soothing and its time for a cool "Bavaria"! On "Hymn", you guessed it! The band showcases the Choir, weaving another solid composition into the fray. "The Place" caters to some excellent male vocals, giving the track a healthy dose of growl without losing focus of their name brand laid back attitude, with some fanfare parping synths showing the way. "The Landing" is an imperial piece loaded with atmospherics (crackling thunder, cascading sheets of torrential rain, creaking doors, footsteps.), all window dressing for a 10 minute epic symphonic prog etude , very deliberate in its buildup , adding to the trepidation. The finale title track, a 12 minute sweet adventure puts the exclamation mark firmly on the charming value of owning this record , where keyman Renato Coutinho, drummer Daniel Mello, guitarist Fernando Campos and bassist Barao get to deliver their obvious passion for prog . Brigadinha!Oh, I forgot, a beautiful cover with engaging artwork. 4.5 estrellas

This is a Brasilian four piece band with additional musicians, in 1992 they released their eponymous debut CD and 3 years later this CD entitled Twin Sunrise. The sound on both albums is similar: in general long compostions featuring bombastic keyboards, fiery electric guitar (between Steve Rothery and David Gilmour), many shifting moods and breaks and pleasant variation on instruments (acoustic guitar, piano, flute, choir and strings). Remarkable is the powerful sound of the 5-string bass guitar in some songs. If you like Pendragon, Jadis and early Marillion this is a fine band to discover, not really earthshaking but just entertaining 24-carat symphonic rock.

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Elegant and well crafted instrumental neo-prog from Brazil. Following a similar path to that of their fellow countrymen of Tempus Fugit, albeit with a less degree of bombast, Dogma really did a beautiful job in their debut album. Quite a laconic album for their first release. "Album", isn't it? Besides Tempus Fugit, other references regarding Dogma's prog style are 80s Camel, Craft and The Enid, as well as the Genesis-based melodic sensibility that is so common in modern symphonic prog. In fact, the labors of keyboardsman Renato Coutinho and guitarist Fernando Campos are somewhat influenced by Banks and Hackett, respectively. Sagrado Coracao violinist Marcus Viana guests on track 2, providing an effective complementation to some guitar leads and accompanying the keyboard layers in order to enhance the symphonic nature of the main motif. The gentle tone and the melodic delicateness are the two leit-motifs that sustain Dogma's musical ideology: the opening track 'Beginnings' has a pleasant air of simplicity about it, while the following three are a bit more sophisticated, particularly 'Night Winds' and 'Seven Angels in Hell', which comprise some interesting ambience and tempo variations, although the band seems focused on keeping things not too pompous, as if they were specially concerned about the motifs and the orchestrations rather than the exhibition of technical skill. Anyway, it is obvious in tracks 3-4 that Campos' keyboards assume a clear starring role in the overall instrumentation. Things get softer in 'Movements', almost melancholy, for the most part of it, until the last section introduces a more exulting tempo. The 22 minute suite that closes down "Album" is located in such a strategic place: after a catalogue of pieces that had an implicit colorfulness that never got to burst out as in a Catherine wheel, 'A Season for Unions' finds Dogma getting more overtly symphonic than on any other track in this recording. That was a real requisite, since the epic structure of this number demanded a more orchestral attitude from the band. The surprising fact is that the band's melodic side is explored without getting too bombastic, really - actually, 'A Season for Unions' is, generally speaking, even less pompous than most of the previous tracks. This suite is more based on evocation and candor than on bombast. All in all, Dogma's "Album" is not precisely superb genius, but it certainly is a pretty interesting opus, full of attractive musical ideas which are well ordained and never get too redundant nor trivial - 3 to 3 ½ stars for this one.