Dogma

This 2018 release marks a notable step for Germany's audiophile MDG label, which has at least mostly made, not studio recordings, but recordings in spots acoustically appropriate to the music. Here they present North Germany's dogma chamber orchestra (the name refers to the Dogma 95 credo of Danish filmmaker Lars von Trier) in what is purported to be a live concert at the Konzerthaus in Dortmund. How live it is may be open to debate; although an audience is pictured in the album graphics, total silence is maintained. You might want to invest in whatever manufacturer made the cough drops used to calm the throats of a Dortmund audience in January, and there is no applause.

Elegant and well crafted instrumental 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. 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…

Six years have passed since “Mayhem Maniac Machine” was released, but the sounds of the shots fired out of this very effective, technical death metal weapon are still reverberating in the ear. Now, the Southern Germans prepare their next gunfire: “Dogma Anti God”. The band recorded the nine tracks together with producer Kristian „Kohle“ Kohlmannslehner (Aborted, Benighted) in his Kohlekeller Studio and created an album that is musically more open than its predecessor without losing DEADBORN’s uniqueness and recognition value. This dogma is irrevocable!