THE DAWN AFTER THE STORM

The follow-up to Brazilian TEMPUS FUGIT's 1997 album "Tales from A Forgotten World" is finally here. Their debut concept CD was a professional and interesting release and this is even better. It's very keyboard dominated, mostly instrumental and beautiful symphonic progressive rock with good musicianship and complex compositions. The lack of originality on the debut is almost gone. They're still reminiscent to 70's CAMEL, IQ, MARILLION, PENDRAGON and YES, but now they have gained something that could be called their own sound, or at least they're on their way to it. Perhaps it will more evident on their next release.

For their second album "The Daw nafter the Storm", Brazilian act Tempus Fugit reinforced its symphonic prog sound and managed to surpass the material of their very good debut effort regarding expressiveness and inventiveness. TF almost equals the captivating majesty of their compatriots Quaterna Réquiem and gains a more solid sophistication than that accomplished by Dogma (another compatriot band). The band's most solid virtue is its capability to create a proper mood for each one of the musical ideas, and regarding this point, the guitarist and the keyboardist are the definitive "heroes". The band's overall sound is solidly influenced by classic Camel as well as by the more ambitious side of neo- prog, while adding typical flavors of South American melodic sense. 'Daydream' opens up the album with a glorious hook, expanded through well ordained motif and tempo shifts in an 8-minute span. The 4-part namesake track keeps a similar bombast with a bit more spectacularity and a bit less frenzy. 'Never' is a slower, melancholic piece, in many ways very related to the standards of neo. 'Tocando Você' finds the band continuing on the melancholic vein, but this time with a bucolic tendency, based on the input of acoustic guitars and mandolin. For 'The Fortress' the bombast of the first two tracks is retaken enthusiastically, with much success in providing vivacious colors during both the faster and the slower passages - the slower passages are comprised in the beautiful interlude, which brings a very evocative motif. 'Prelúdio de Sevilla' is an acoustic guitar solo encapsulated in the Segovia ideology:an academic refurbishment of Flamenco-inspired musical elements. 'The Sight' is a prog ballad heavily isnpired by conteporary Ceml, while 'O Dom do Voar' brings some more of the bucolic side of Tempus Fugit, this time closer to a mixture of Celeste and Anthony Phillips. Last, 'Discover' brings an attractive mixture of symphnic and neo, with a final section that perhaps should have been developed further in order to make it a more impressive climax. It is a very good conclusion but I can´t help imagining that it might have been better. Anyway, "The Dawn after the Storm" is Tempus Fugit's most accomplished effort, and it surely is one of the best prog recordings to come out of Brazil during the 90s. A must for every serious symphonic prog collector.

This is my favorite prog album from the land that gave us "futbol", great coffee and the samba, among many other lovely attributes. Their first album "Tales from a Forgotten World" was a definite winner and this second cup is even better! Unfortunately , its been 7 years now waiting for their next studio album , "Chessboard" but its still in process (what torture!). "The Dawn After the Storm" is a masterpiece all the way through, no need to push the fast forward button but the repeat one is a good idea! What gives this recording such a warm response lies in the style chosen by these accomplished musicians. As the opener "Daydream" kicks in, the true nature becomes vividly apparent: as with many other Brazilian symph bands, the first word that comes to mind is SMOOTH. Indeed, the various instruments exude a silky splendor, very melodic, highly lyrical with uplifting themes shaped by cristalline keyboard textures , spirited acoustic guitars, lush Hackettesque lead electric interventions, fluid bass lines and , as usual with the percussion-mad South Americans, great drumming through out. The tiltle track is broken down into 4 parts, kicked off (another soccer pun) with a thunderclap and rain , somewhat reminiscent of Tai Phong's classic prog epic "Out of the Night" . Guitarist Henrique Simoes and keyboardist Andre Mello are two melody monsters , applying velvety touches brimming with achingly beautiful choruses and shimmering solos. "Never" is the first of 3 excellent vocal tracks and keeps the ball rolling. "Tocando Voce" is a 6 string showcase that is a definite highlight , with simply gorgeous music. The next two cuts, "The Fortress" and "Preludio de Sevilla" are just as good but I cannot wait to get to the final three: "The Sight" is a prog jewel, as good or better than anything from "Spectral Mornings" by the afore-mentioned Hackett, the fragile vocals conveying a deep sincerity within a hook that will whip your pants off (Its okay, lots beaches in Rio): goose-bump central! "O Dom de Voar" seems to be my previous reviewers favorite track and they are not suffering from sun-stroke! Its an imperial track, loaded with memorable themes and luscious playing. The finale, "Discover" has a central breezy theme that only a tropical environment can come up with: a gentle lilt , jazzy little guitar parts that stick to your sweat drenched brain , urging you to reach over and pick up your "Bavaria", crunch a sliver of lime, gulp away and go "AAAAAHHH!. In my rather humble opinion (and seconded by my PA colleagues) this is an absolute Prog classic that deserves to be heard, purchased , treasured and revisited often. I am sure that G. Barros would agree. O Brigada! 5 mello yellows

"Tempus Fugit" did release an excellent debut album "Tales From a Forgotten World" in 1997. Symphonic to the bones, the band just follows the same sort of inspiration and displays a very similar type of music. Maybe a bit less melodic in the opening number "Daydream".

The next song, although a bit derivative of "SOYCD" during its short intro shows a brilliant synth performance : absolutely beautiful. Some will say that it is a too simple music but I am always submerged by emotion with such gorgeous melody. The song is governed by the keys, but Enrique Simões will perform some great and passionate guitar breaks (similar to the ones of Nick Barrett form "Pendragon"). A highlight.

While their debut were almost all-instrumental, this album features more sung parts. André Mello has a very soft and more than acceptable voice, a bit mellow (again the link with Nick Barrett comes to mind).

"Tocando Voce" starts a sa peaceful acoustic track but once the whole band gets together, the same brilliance shows up. This is another of a melody jewel. Of course, you need to be "in" this type of music. Simple, accessible, romantic. Not complex for a ? cent. But so enjoyable.

Most of the other songs are in the same vein if you would except "Preludio De Sevilla" featuring some Spanish acoustic guitar of course. Very pleasant as well. And an interesting break after so many melodious songs of which the next "The Sight" fully belongs again. Great work from Enrique, very much in the Hackett style ("Firth Of Fifth").

One of the best song is "Discover": it is a bit harder, less polished. The beat is rocking alright and it breaks with the overall mood of the album. The final part of the song is especially well crafted. A crying guitar solo is super effecitve.

If you are found of the instrumental side of "Genesis" (while they were five or four) this album is for you. Not greatly original but so pleasant. Four stars for this delicate piece of work that fully deserves some more attention but which is less inspired than their first album IMHHO.

Tempus Fugit second release is quite more varied than the first, Tales Of A Forgotten World. The band has expanded its palatte of sounds, but the basic elements that forged their early music are still here: classic prog of the 70´s like Camel, ELP, Genesis and Yes, plus a strong classical influence. There are, nevertheless, more jazzy stuff and some experimentalism here and there. Certainly they´re still defining their style. Even thought I still like their debut album more, it is obvious that those guys are getting better. Even the vocals, their weakest point, are quite superior here. The instrumental tracks are the best ones, though. Fortunatly they are the majority again.

Highlights are the guitar and keyboards overplays. Wow! Those guys are really good and they know how to use their fantastic technique to produce goood music instead of just showng off. Bassist is also very good, his playing is fluent and melodic. The use of classical guitars on many tracks enhance their sound and reveals a great deal of baroque and flamenco roots. And Tempus Fugit members know how to write SONGs, rather them excuses for long solos and instrumental noodling. That is quite good.

All in all avery good prog album: melodic, beautiful, bombastic. Lots of mini-moog a la Rick Wakeman, hammond organ, passionate guitar solos, and so forth. Music from the heart played by skillful and sensite musicians. A great find. Recommended to any prog lover. 3,5 stars.

A definite improvement over their debut. The bass has really been magnified on this one, it's even growly at times. And the guitar takes on a greater role. The Neo flavour from the debut is gone, what we have here is Symphonic Rock with lots of pleasant CAMEL-like passages as well.

"Daydream" opens powerfully and the guitar sounds fantastic. The bass is deep. It settles before 1 1/2 minutes with piano coming in around 3 minutes. It gets fuller 3 1/2 minutes in and the guitar takes the lead a minute later. The bass is again prominant. Synths 7 minutes in. "The Dawn After The Storm" is spacey with thunder for over 2 minutes. Nice. Then synths, bass and drums lead the way .Guitar before 4 minutes. Drums and a heavier sound before 6 minutes. Great sound. Organ 7 minutes in. "Never" features vocals for the first time on this record. Lots of synths in this beautiful and emotional track. The guitar before 3 minutes reminds me of Hackett. The instrumental interlude is pure bliss. Gorgeous. Vocals return 5 minutes in as the guitar shines. "Tocando Voce" has some intricate acoustic guitar early before a change 2 minutes in as a fuller but relaxed soundscape takes over. The guitar soars after 4 minutes.

"The Fortress" opens with some beautiful piano melodies followed by some outstanding guitar. A calm with synths continues until the tempo picks back up. "Preludio De Sevila" is 2 minutes of Spanish guitar melodies. "The Sight" featuires these sweeping synths early. Vocals and guitar follow. Nice. "O Dom De Voar" is a light and pleasant song with some guest flute. "Discover" opens with some mandolin as guest vocals arrive. Drums and a fuller sound 2 1/2 minutes in. Chunky bass 4 1/2 minutes in and a more passionate sound. The tempo picks up a minute later as they rock out.

If your going to get a TEMPUS FUGIT album I would recommend this one the most. A solid 4 stars. I like the cover art as well. It reminds me of when I am listening to music while I drive.

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.

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.

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.