TEMPUS FUGIT

It's rather ironic that a band whose name means "time flies" should have nearly a decade pass between their second and third albums. Still, Chessboard proves to be more than worth the wait. An exuberant album in an IQ-inspired neo-prog mode, it might not be the most original thing out there, but as with the band's excellent debut the group more than make up for this with soaring performances and great compositions which grab the listener hard and don't let go until the last chord has sounded. With the emphasis so firmly on the instrumental sections, the portions with vocals are essentially punctuation, though vocals have never been the band's strong point so this is very much for the best.

I was extremely impressed by Tempus Fugit's debut album, Tales From a Forgotten World, but I found The Dawn After the Storm to be something of a disappointment. To my ears, the production sounds a little thin at points, and the songwriting seems to have suffered a little too. The band still do a decent job of applying a uniquely Brazilian approach to neo-prog and melodic rock, but the instrumental passages this time do not enchant me the way the extended workouts on the debut did, and the vocal performances seem to have lost something too. Worth a listen if you like the idea of combining traditional Brazilian music with neo-prog, but I'd say the debut is a much better place to start.

The debut album by Tempus Fugit is a compelling neo-prog piece which combines graceful vocal sections (which remind me a great deal of 1990s Pendragon - there's the same gentle melodicism you can hear on the classic The Window of Life at work here) with extremely extensive and varied instrumental passages which combine the best of Genesis and early IQ, and here and there add in a flavour of traditional Brazilian music (see, for instance, the acoustic guitar section on The Lord of a Thousand Tales) to allow Tempus Fugit to put their own distinctive stamp on proceedings.

True, none of this sounds particularly original, though Fugit's performances take this album to the next level - as with the best works of their influences, this is the sort of music which feels like it is taking you on a journey, and which is it a sheer pleasure to just put on whilst you sit back, close your eyes, and let your imagination run riot. Yes, it's a rather derivative style of prog which tends towards adhering to a formula. But in this case, Tempus Fugit have hit on a formula for turning base neo-prog into gold.

The third and so far final Tempus Fugit albums offers some really nice symphonic prog.

Tempus Fugit from Brazil has got a reputation as one of the better new generation symphonic prog bands from South America. On this album, they are taking up the legacy left from both the great South American symphonic prog bands and the English symphonic prog bands like Genesis and Camel.

The music on Chessboard is mostly pastoral, toned down symphonic prog with both long guitar solos and keyboard runs. The pretty good vocals is also pretty memorable here. It is pretty obvious Camel is a huge influence on both Tempus Fugit and this album. But they also mix in other influences and styles. Pink Floyd anno the 1980s to 1990s for example.

The music is good and ticks over nicely throughout. But the music also feels a bit anonymous and does not really speaks to me. Tempus Fugit is a superb band, but the art of making really interesting music is a bit absent on this album. There are some really good melody lines throughout and the guitarist is really great. But besides of that; the album is good and nothing more. Good and non-offensive.

3 stars

After a stunning if somewhat naive debut, TEMPUS FUGIT fell to the sophomore jinx. While the overall symphonic style and components are intact and the quality of production improved, something is missing here that was present in spades on "Tales from a Forgotten World" and rekindled on "Chessboard" many years later. I may be remiss, and hindsight is 20/20 after all, but this intangible might explain why the group entered an extended hiatus not long after this release. The synchronicity took leave before the band, as is too often the case.

I take issue with the unconvincing toughening of the group's sound as on the title cut and rather mundane melodies of pieces like "Daydream", and the unfulfilled buildup of "The Fortress", resorting to more caterwauling instead of the trademark dramatics. Even the mellower and pleasant "Never" sounds almost MORish next to the brilliance of the infrequent but emotive vocal tunes we had heard previously.

Luckily, there is one significant area of growth apart from the technological improvements, and that is the group's more ready embrace of their generally sublimated Brazilian roots. This is felt chiefly on the Portuguese titled instrumental tracks "Tocanda Voce" and "O Doam de Voar" with their acoustic guitar flourishes, in the latter blended with cascading keyboards that alone could put the British masters to shame if they weren't already in such a transcendent setting. "The Sight" is the most alluring of the 3 vocal tracks thanks to a rich bass line and suspenseful melody. Mello's vocals are less significant here than the instrumentation, and a better balance would be achieved years hence. "Discover" is another credible performance with an especially effective change of scene bisecting its 8 minutes.

Overall, this weaker effort reflects not so much dawn as the dusk of this phase of the TEMPUS FUGIT story, yet it remains a worthwhile if less essential group release. Like in twilight, individual forms are less discernible and the overall view is not so coherent. Yet in other areas, particularly the hotblooded Latin nature of Luiz' acoustic guitar, the group has grown, or at least branched out successfully. A long and apparently bountiful night would follow, from which TEMPUS FUGIT would emerge robustly.

While the symphonic meets neo sound of TEMPUS FUGIT remains largely intact over 10 years after their 1997 debut, several significant alterations can be discerned. It's clearly not a group that wants to sit still, but at the same time they seem to have a consistent vision of the influence they wish to exert on the progressive scene.

Bassist André Ribeiro adds a new dimension, crooning expressive lines like a sultry sax player in a mildly jazzy Camel style. Vocalist André Mello has become more confident, and while he'll not ever be a PETER GABRIEL or a PETER HAMMILL, I would argue that the group would suffer under such a powerful singer, and Mello's voice is more simpatico with the group's wistful and mellow orientation. Perhaps because of his improvement, this is a more vocal oriented album, with 5 of the 8 tracks containing sung parts - this is achieved without dulling the band's instrumental sheen in the slightest and without resorting to conventional song structures. The other change I note is an ever so slightly more aggressive edge , nothing to convert metal fanatics or scare away us peaceniks, but more in the manner of several groups that rose to prominence in the earlier part of the 2000s, chiefly CLEPSYDRA and SATELLITE. The vocal parts tend to be more mellow, but not exclusively

All the tracks here are very good, with perhaps the best being in the middle. "Unfair World" shifts from a languid symphonic ballad to more of a neo progger with ease. "Only to be with You's opening 3 minutes may well be the highlight of the album especially if you can't get enough early instrumental CAMEL, while the rest is more vocal oriented in the vein of early SEBASTIEN HARDIE. Then there is the fairy tale like purity of "The Princess", TEMPUS FUGIT's nearest approximation to a hit, and it would be deserving. The second part of the track is a masterful lead guitar led work that positions Henrique Simões somewhere on the path to MIREK GIL via JOHN LEES. Heaven!

The closing and title tracks are also strong, perhaps only slightly less riveting even though I hear some tribute to fellow romantic Brazilians SAGRADO and 14 BIS in Mello's crooning on the closer, as well as some surprisingly dramatic vocal passages toward the end, that recall early GENESIS and KYRIE ELEISON.

I know that TEMPUS FUGIT are going places with their sound, and would like to think the same for their recognition but I know better. Their moves may not result in a commercial windfall, but I also see little danger of a stalemate.

This modern symphonic group prioritizes the melodic and gentle side of the sub genre. Although from Brazil, TEMPUS FUGIT is so infused with the British masters and apprentices that the Latin influences are indeed subtle if present. Their debut is not "challenging" in any sense, but is wistful and ultimately happy, with plenty of smooth shifts of mood and instrumentation, primarily synthesizers offset with other keys, and electric and acoustic guitars. Vocals are rare, appearing in less than half the tracks, but the music is colourful and indeed lyrical enough to carry the fantastical, if vague, themes.

For reference, apart from the big symphonic names, I hear ELOY, particularly the luscious "Planets" era in "Bornera"; the Bahrain group OSIRIS for the extended but controlled jams; RENAISSANCE in the piano rolls of "The City and the Crystal"; and even neo prog a la PENDRAGON on the more vocal oriented pieces like "Song for a Distant Land". TEMPUS FUGIT also reminds me of a less manic and more instrumentally oriented version of the Mexican group CAST.

It's hard to pick out high points and even harder to underline any weaknesses other than perhaps a general lack of distinctiveness, but the material is so uniformly strong that I have to give it a thumbs up, and "The Goblin's Trail" and "Princess Vanessa" can be lapped up eagerly by any sentimental old fool who wants the old style with modern production. "The Lord of a Thousand Tales" amply fills the role of symphonic epic, with something for everyone and everything for more than a few.

If you have read this far and don't have this album, time is flying so why not set aside some for these tales before they really are forgotten.

Great debut album from these symphonic progsters from Brazil.

When the album start like a tribute to Eloy........ you know you are in for a ride. In particular when the band is named after a Yes song. And just let me sort this out once and for all. This album is by no means a Yes tribute album. Their DNA profile can be found here, yes. But this album also have a lot of other DNA profiles. Where do I start and where do I stop ? There is no point. I would say some Krautrock and a lot of Symphonic Prog. Tales From a Forgotten World is a stew which should cater for most tastes.

......... Which may explain why it is a bit difficult to penetrate during the first listening sessions. It is both so arch-typical Symphonic Prog and so varied in it's form that it has problems making an impact. The lack of any real great melody lines also blights this album. Besides of that, this is a great melodic symphonic prog album.

The instruments used here is the standard setup. Synths and electric guitars does the many solos here. Bass and drums rumbles on in the background. The vocalist is fairly decent without really impressing. But he is OK for this type of music.

My main gripe is the lack of any real great tracks or even signature tracks here. That is why this is only a three stars album for me. But it will stay on my frequent play list and I may upgrade later on to four stars. But after ten listening sessions, three stars would have to do. But being a debut album, this is a very good effort. I have their Chessboard album too and I will also give that some thorough spins.

3.5 stars

Tempus Fugit is another of those bands that I planned to review at some future date, but after reading an interview with the band here on ProgArchives I thought that now would be a good time to post a review or two. In case any of you don't know, there is a fine Interviews section within the forums. Many of these interviews are the fruits of a very hard-working collaborator's labours. Now, I'm aware that camels can withstand long periods without water but apparently they can also do without sleep!

Anyway, Tempus Fugit is a contemporary Brazilian band and The Dawn After The Storm (1999) is the title of their second album. They are a symphonic band in the mould of their compatriots Dogma and Quaterna Requiem, and have clearly been inspired by the likes of Genesis, Camel and Yes. The Dawn is a mainly instrumental work, with only 3 of the 9 tracks containing vocals. Andre Mello's English-language vocals are absolutely fine, but for me the strength of the album lies in its lengthy instrumentals. The one song I would single out is the album closer, DISCOVER, which actually features guest vocalist Fernando Sierpe. This song isn't exceptional for its vocals; it's just a superb piece of music. From gentle acoustic guitar and mandolin beginnings it develops into a full-throttle rocker with Wakeman-esque Mini-Moog, and climaxes with a guitar solo underpinned by rumbling bass and choral effects.

The album also opens in dramatic fashion with DAYDREAM. There are more of those choral effects here; I don't believe a Mellotron produces them, but they sound great in any case. This track features wonderful interplay between the guitar and keyboards, but Henrique Simoes' haunting guitar solos deserves special praise. DAYDREAM segues into sound effects of a storm that heralds the multi-part title track. This is a symphonic poem that wonderfully interprets each of the 4 parts of the piece. Atmospheric-sounding strings and Mini-Moog give way to a catchy refrain with Andy Latimer-style guitarwork, followed by a heavy section, then another melodic part to resolve the piece. THE FORTRESS also features marked changes in tempo and dynamics, with Mello's classically inspired piano/strings intro and Moog figures contrasting with the rampaging guitar solos.

The other main highlights are TOCANDO VOCE with its exquisite 2-minute acoustic guitar and mandolin introduction, and the delicate O DOM DE VOAR with its piano, flamenco guitar and flute ensemble. There really isn't a bad track here and if you're a fan of melodic prog you'll relish this album. I think you might be left wanting more of the same, but the good news is that they have another couple of studio albums for you to explore.

Tempus Fugit is one of my favorite prog band because they choose to venerate our beloved symphonic genre with their unique Brazilian temperament in creating "happy" prog as opposed to the "Strum & Drang" that most progheads pray to infuse in their complex musical minds. The tropical spirit never goes below the even slight despondence, preferring to breeze with unabashed delight, perhaps very melancholic but never sad. That's pretty refreshing especially when there are many multi-genre aficionados on our site who go from one style to another extreme, a swerve into further prog horizons, looking for a new buzz. Hence, a seasoned collector and prog purist like my revered sinkadotentree has commented on the simply splendid previous Tempus masterpiece "Dawn After the Storm" , heaping copious serenades on the strength of an album of drop dead gorgeous melodies, scintillating solos and overall bliss, with an omnipresent sense of leisurely smiles and understanding glances. Certainly in my humble view, one of the best recent prog records EVER. I am confident in stating that many proggers are truly missing out on a recording that inexorably will PLEASE and seduce them into their sexy-prog world. It also happens to be excellent music while flirting with some lovely creature, blaring gently in the background for quite a few romantic dinners "a deux" as I have! Get's you in the moooooood! So the avidly awaited follow-up after a too long stretch of silence was not going to get away with impunity and taking over first place! Hard pressed, they evidently understood that it would even more honorable to, while keeping many of the band's obvious attributes (no, not talking about the Love Beach artwork!), just "progress" into another realm, certainly brainier and more esthetically symphonic in structure. So the chessboard becomes the inspiration and it doesn't get more challenging genius than that game, so the boys really kick it up. The two-part "Pontos de Fuga" slings the proceedings into electric overdrive, with slithering massed synths boldly establishing the onslaught, guitarist extraordinaire Henrique Simoes lights up like a manic blast of flame-thrower, spewing harsh rhythmics and supple, ultra-agile melodic leads, while the nimble bass of Andre Ribeiro bounces around in strict dementia and the forceful drums splash the arrangement with unrestrained enthusiasm and effort. "Unfair World" introduces Andre Mello's oft criticized vocals but his timbre and fragility is what makes the beauty of the melodies function with such grace and resplendence. And what a whopping tune this is, loaded with melancholia and supreme elegance, the hallmark of the previous "Dawn After the Storm" jewel. Simoes signs a resourceful solo with his unique tone, not really Latimer, Hackett or Gilmour (as some have misguidedly suggested), a lyrical virtuoso with a burning resonance fueled by a canny devotion to "feeling". This is a tremendous track that will please you! "Only to be With You" is unfortunately a bit pedantic but has some incredible bass tremors, some jazzier keyboard splurges and a series of twist and turns that border on experimental (at least for them). A windswept synth solo is also exhilarating, an okay vocal passage but this track just doesn't do it for me, even though the instrumental parts are quite impressive, Simoes again displaying his craft. The two-part "The Princess" has a beautiful main chorus on which Mello sings brilliantly, a simple vulnerability exudes from the spirit of this appealing tune, a rare acoustic guitar solo is one of the finest ever, seeping overt Brazilian traditions in serenade ("Let me dry your tears away" ), while the second segment highlights a scorching, bombastic almost desperate axe lead that leaps out and explodes with incredible pain and agony, rippling like a seismic fault and soaring imperially. Wow, what a mother! If anyone has doubts, pheew! The title cut is also a two-seater, with a torrential symphonic onslaught, growling slashes of guitar and howling keyboard fanfare, slowly shaping the masterful main theme, a self-assured musical statement when the shining lead torturously overtakes it and the clouds have parted, electric piano and a dreamy vocal, elastic bass and a groovy synth-led journey begins. The mood then dives into a massive prog slugfest, with sensational chops by all four conspirators. While a perfectly enjoyable album, it cannot fairly compare to their masterwork's monumental collection of classics and perhaps as I mentioned , it is a good thing , giving even more class to the entire Tempus Fugit catalog as the first album "Tales of a Forgotten World" is also quite a stunner. Chessboard will do nicely thank you, with great artwork to boot. Sink was right again !4 carioca pawns.