Dogma - Twin Sunrise (1995)

Artista: Dogma
Álbum: Twin Sunrise
Año: 1995
Género: Rock sinfónico / Neo progresivo
Duración: 53:49
Nacionalidad: Brasil

Lista de Temas:
1. Midday
2. The Search
3. Burn the Witch
4. Hymn
5. The Place
6. The Landing
7. Twin Sunrise

Alineación:
- Fernando Campos / acoustic & electirc 6 & 12 string guitar, weird laughter
- Renato Coutinho / keyboards, sequencers
- Barao / 5 string bass
- Daniel Mello / drums, percussion
Guests:
Titi Walter / vocals, Mermaid vocal on HYMN
Renato Coutinho / weird voice
Guilheme Bizzotto / vocals
Ligia Jacques / vocals

DOGMA is one of the best known bands from South America. They recorded "Album" in 1982 and "Twin Sunrise" three years later. The music performed on these two great albums is at the same time symphonic and melodious. The guitarist has some Mike OLDFIELD echoes and the group's music is mainly influenced by GENESIS and CAMEL.
In this second release, Dogma improved their sound. They added female and male vocals ("The Search," an homage to Pink Floyd) and strings ("Burn the Witch"), and the results show a new side of their sound. But they did not forget their guitar playing and symphonic arrangement style. The difference is that in this work, the compositions are more inspired and the music now is more dynamic.

Segundo CD de esta muy buena banda que presenté hoy, incluso mejor que su álbum debut, tambiém instrumental pero con lagunas secciones cantadas (en inglés, obvio) y más trabajado, con muy logrados solos de guitarras y teclados, y la participación del un cuateto de cuerdas.
"Twin Sunrise" es considerado la joya de la banda, y uno de los mejores trabajos de rock progresiv que ha salido de Brasil. Bien sinfónico, melódico y aún más emotivo que el anterior disco, y generalmente instrumental. Si a usted le gusta lo que hace gente como Steve Hackett, Camel and Sagrado Coracao da Terra, no lo dude, esta es una muy fina pieza del mejor rock sinfónico, siguiendo en la línea de Pink Floyd y sobretodo de Genesis, com vibrantes, emotivos, melodiosos y apasionados solos de guitarra y teclados. Así como sucedió con el primer disco, no hay canciones descartables en este álbum, y si bien todo el álbum es muy parejo tiene algunas canciones muy destacables. Pero, sin embargo, Dogma nos brinda aquí una obra que parece ofrecer un paisaje de cuento de hadas, donde todo el clima instrumental hacen volar la imaginación a límites fantásticos.
Pocos temas vocales, canciones perfectamente ejecutadas, entradas instrumentales impresionantes, pasajes climáticos y místicos, la banda no escatimó ideas en esta, la que fuera su última producción (lamentablemente), en un admirable interpretación instrumental de temas muy bien compuestos, y hablo de que el mejor músico estaría orgulloso de haber creado este tipo de música, que genera la creación mental de imágenes de mundos de ensueños.
En definitiva, un disco de un excelente nivel que vale la pena conocer.
Y si no me creen, lean los comentarios siguientes:

DOGMA é uma das melhores das novas bandas da América do Sul (Brasil). A música de seus dois grandes álbuns é, ao mesmo tempo sinfônica e melódica. Suas composições com base em acordes de teclado e com a soberba guitarra de Fernando Campos, que tem claras influencias de Steve Rothery, Mike Oldfield e Steve HACKETT. A música do grupo é influenciada principalmente por Gênese e Camel.
"Twin Sunrise" é considerado o seu melhor trabalho. É mais sinfônico, melódico e mais poderoso do que o 1o, e continua com um instrumental maravilhoso. Um álbum recomendado para os amantes de Steve HACKETT, Camel e Sagrado. Um vencedor!
Adorei o álbum! Recomendo.

Luiz

Grupo brasileiro de Minas, formado, inicialmente, por Campos e Barão, o Dogma projetou-se definitivamente, com sua apresentação na primeira e única noite do Festival Naciona de Rock Progressivo idealizado pelo jornal especializado "A Clava do Som", em 29 de outubro de 1992. Com apenas um CD lançado (em janeiro de 1993) pelo selo paulista Progressive Rock, o instrumental "Dogma" conseguiu ainda abrir o show de Rick Wakeman, no mesmo ano, em Belo Horizonte. Álbum conta com Marcus Viana em uma faixa." (ERP)
RPB: A banda lançaria ainda mais um CD pela mesa PRW. Repentinamente, o baixista Barão morre aos 35 anos de idade (ataque cardíaco fulminante). A banda tenta alguns retornos mas não consegue. Em 2003, Campos anuncia a volta da banda com uma nova formação. O lançamento do CD deverá ocorrer pelo selo Sonhos & Sons no ano de 2007.

Rock Progressivo

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.

Erik Neuteboom

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

Thomas Szirmay

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.

Chris

Though Dogma had only put out two albums, they seemed to be one of the pinnacle bands in the thriving Brazilian progressive rock scene. Their sounds are big, clean, precisely orchestrated and emoting of a grandiose experience. It can best be described as symphonic rock that’s wedged someone between neoprog and old instrumental prog ALA Finch. They are much more musical than Apocalypse, another Brazilian band they resemble, and also never stray from an eloquent form of arrangements. Dogma has class and it’s musicianship is nearly faultless.
Dogma’s first release, "Album" was heavier on an "stadium rock" type sound mainly because of the overuse of digital keyboards. The sound did not reach back into the analogue sounds of the 70s and the song writing was not as inspired. As a result, parts of the CD seemed flat and somewhat insipid. That is not to say "Album" is by any stretch a bad CD – it’s not – but it was more a sign of greater things to come.
"Twin Sunrise" finds Dogma embellishing its sounds and stretching out with much more analogue instruments, including strings and woodwinds. Coupled with stronger song writing, the disk really shines. There’s a fullness, a depth to "Twin Sunrise" that was missing from "Album". There are seven songs that vary from four minutes to over twelve minutes in length. Though the CD is not recorded at the highest level of clearness, the instruments are well arranged and the musicians seem bolder and more confident.
"Midday" gets things off with a sound similar to "Album", soaring and anthemesque, yet with wonderful acoustic interludes. The second track, "Search", begins with sounds of a running stream and echoing synth. The soft and ethereal sounds of acoustic guitar almost remind one of New Age but the song quickly progresses into a tight rhythmic driving type of progressive fusion. There’s wonderful piano here and a singing fretless bass that’s played at extremely high pitch. A jazzy feel and classical elements make this song a harbinger of the many eclectic moments that await us throughout this album.
"Burn the Witch", track three, almost sounds Baroque from it’s first few notes, but the soft passages that follow is wonderful day dreaming music. As expected, the song lifts to another mid tempo, yet very pretty song, complete with elevating flute. The pastoral nature effects are back with "Hymn". The song also is one of the CDs only two vocal tracks. Both female and male choral work add a nice effect, though it’s all chanting without words. Also some scorching guitar really lifts things until we’re dropped to another pretty moment of soft piano. Heavy analogue synth and pounding rhythms make "The Place" seem like it’s going to be a rocker. The song slows to become a pop ballad. The male vocals are fine but the commercial "hit" intent is what ruins this song. It is so out of place with the rest of the album. Thankfully it's the shortest song on this 54 minute album and therefore can be ignored.
"The Landing" (10:00) and "Twin Sunrise" (12:19) close off the album with the two strongest songs. Their length allows Dogma to try out many things. "The Landing" starts with nature effects – a thunderstorm – and soon weaves a prominent keys-driven melody into the song’s fabric. Spanish guitar takes over from time to time and is very well incorporated into the sounds. Now comes "Twin Sunrise". Light, fluffy piano, then a pounding chord. Soon we’re swept up into a flurry of fusion, frenetic screeching synth. After a climax, we’re floating in Klaus Schultze type space swirling. Wonderfully moody and atmospheric. Dogma’s use of fretless bass is particularly effective here. A new melody of flute samples and acoustic guitar lead us into another rocking passage with some great bass and drums. Some nice Hammond work rounds out the song before we're treated to a rousing climax. A nice end to a beautifully crafted album.
Unfortunately Dogma’s bassist died recently and any information on the band is hard to find. A source in Rio informs me that the bad has, sadly, disbanded. This is a real shame but enough activity in the Brazilian prog rock scene guarantees that each member and their talents will be surely absorbed.

Richard Zywotkiewicz

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...

PSarros

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.

Peter G.

DOGMA was an excellent progressive band from Brazil. The music performed on these two great albums is at the same time symphonic and melodious. Their compositions are very melodic relying on symphonic keyboard arrangements and some superb guitar interventions from Fernando CAMPOS. The guitarist has some Steve ROTHERY, Mike OLDFIELD echoes or Steve HACKETT style. The group's music is mainly influenced by GENESIS and CAMEL.
DOGMA'S debut album, Album, is definitely British in style with its long instrumental tracks of excellent melodic music in the neo-progressive vein.

The Yellow Porcupine

Recomendadísimo, un obra maestra del rock progresivo brasileño que supera el gran primer trabajo que hizo esta banda, un álbum refinado, vibrante, emotivo, e instrumentalmente muy bien logrado. Ideal para absolutamente todos, pero sobretodo para los que gustan del rock sinfónico melódico, emocional y elegante.
Todo un lujo, no se lo pierdan...

myspace.com/dogmaprog
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