Dogma
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Dogma

Yerevan, Yerevan, Armenia | SELF

Yerevan, Yerevan, Armenia | SELF
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"Review of "Under Dogma" over at a US metal webzine"

The thing with Folk has been excellently summarized by Jon Voight, in an episode of Ray Donovan when he puts a gun to Rosanna Arquette’s head and screams: “Am I authentic enough for you, fucking tourist?”. Folk today comes too often in super glossy, ultra-cool, mega-polished coffe-table editions. Sometimes that’s a good thing. Most of the time, it’s just too domesticated. Airport souvenirs. We’re all fucking tourists. But sometimes, as is the case with Armenian progressive metal band Dogma, Folk can be just an incredibly pleasant surprise.

In 2008 I was traveling through Armenia, and while strolling along the green parks of Yerevan, the capital city, a gig poster took my attention. I was late for the gig, but the visual style was intriguing, so much so that I took a photo (above) and, once back home, began some investigating.

I found out that the band had come together only months before, and they had a blog. A few weeks later I was the proud owner (probably the only one in Italy) of Dogma’s sophomore release, Ethnic Methnic, a highly accomplished piece of work, cleverly alternating metal stompers and acoustic ballads. Contemporary music infused with traditional melodies, dominated by the incredible vocal talents of Zara Gevorgyan.

Folk is a tricky thing. It is meant to be heard in market squares, in drinking bars, during feasts.

It has to hook you in fast, so the melodies must be simple and easy. Yet it has to progress, to tell a story, because every Folk song is the promise of a journey, so it has nuances, subtle changes, bumps, stops, uphills and downhills, mountains and valleys.

Repetition is paramount, because you can’t expect people to be paying full attention, so you go over the same verses twice or more, in order to make sure everyone is on par with the story. But the best quality of Folk, is that Folk is wise. Its melodies might be simple but are never trite or silly. They never leave you alone in the middle of nowhere. You can carry them with you a long time, and they are never a burden. You never get sick of them.

There’s a double nature, like a two-edged sword, at the heart of Dogma’s music. In the band’s own words: “a compound fusion of Armenian ethnic melody and progressive metal elements, which can transfer the listener from a powerful mountainous landscape to a serene apricot garden in the blazing sun.”

Last December Dogma published their second album, Under Dogma, available on iTunes and Amazon.

The album has 10 songs, 6 sung in Armenian and 4 in English, and has double song titles, in Armenian and English. I’ll stick to the English titles in this review. The album as a whole has great production values; all the sounds are crisp and clean, and all the instruments can be heard clearly.

The journey starts strong with “Sand Leopard”, in which guitarist and songwriter Heno Grigoryan crafts a chiseled ethnic chord and turns it into a metal riff, backed by the full, round sound of bass player (and producer) Vardan Grigoryan and the precise, imaginative drumming of Derek Vardumyan. But as soon as Zara’s vocals enter the scene, you know it’s her show.

This young woman can channel an incredible variety of different emotions, feelings, colours, and textures through her voice alone. Sounding menacing one note, smiling and comforting the next, it’s like meeting a mysterious goddess from the past, speaking an unknown toungue, reeking of ancient heritage.

Second song “Who Has Seen?” is an acoustic ballad, which takes off in the middle section with Zara ad-libbing just like a dancer on a square would, following the music with sounds more than words. The song finale explodes in an eruption of black electricity, with the voice of the goddess spiralling into a cloud of darkness and dust.

“Who Are You For?” holds you in suspended animation, lost in a sleepless night, before revealing herself as a doom crusher, infused with pure Black Sabbath vibe. That is, if Black Sabbath were nomads of the desert.

There is more doom darkness in the following song, “Expectation”, again alternating clear and heavy, acoustic vibrance and electric fury. Heno Grigoryan takes center stage, creating a middle section with an elaborate tapestry of guitars, electric and acoustic, in conflict like ancient gods, none prevailing over the other, backed by the excellent rythmic section.

“Melancholy” is the first song in English. It’s probably not the best idea, since a little struggling can be heard, but still Zara shows her chops with a unique take on syllables and metrics, stretching vowels like she’s knitting wool. It’s a classic rock ballad, which takes flight when Vardumyan’s sensible, melodic drumming kicks in.

NCS readers more on the extreme side might want to start off with track number 6, the aptly titled “Black”, the only tune featuring harsh vocals (in English) courtesy of Vardan Araqelyan. It begins with the perfect Tony Iommi arpeggio, taking you on a nocturnal flight over the desert, with a genie singing softly in your ear, before morphing into a merciless vortex of black smoke and glass sand, in which the wrathful god and the genie fight to tear the listener apart.

“Hori-Loro” is a masterpiece. Imagine you’re a nomad in a caravan, traveling the vast land by horse or camel, trading salt. This is the rhythm that shapes your days: the gentle, caressing ups-and-downs of your mount, while cities, forests, plateaus pass your way.

And at the end of the day, the caravan stops and it’s time for sleep. “Joyspread” is the perfect lullaby, the kind you could only dream of until today, full of love and motherly comfort.

I have mixed feelings about “Argument”. It starts with a great bass line but relies too much on the synth riff, sounding like a lost song from In Through the Out Door. Zara weaves a jazzy, sultry, dark lady tango, a spiralling dance that flares in white electric fire in the finale.

The journey ends with “Falling”, an elegy that turns into a gentle dance, fading away like a fire in the night. Was it all real? Where has this enchanted land gone?

While in Armenia, someone asked: how do you find the sound of our language, hard or sweet?

I answered, sweet. Listening to Zara, I understand that it can be both. Duality is again the core of Dogma: ethnic and modern, acoustic and heavy, light and darkness, ancient and contemporary.

This is certainly not the heaviest record you’ll hear this year, yet it bursts with generosity and creativity. In a metal world where most female singers seem content to stick to their soprano virtuosity (and their boobs), the incredible variety of Zara’s singing proves that there are many more roads to be travelled.

You could do worse than let this little gem pass you by. - No Clean Singing


"Interview with Dogma on “Asian Rock Raising”, Japan online publication and radio program"

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- ROCK DRIVE


"Review of "Ethnic-Methnic" by an English music portal"

It is always nice to come across band's who stay close to their national heritage and Armenia's Dogma is no exception, mixing together a Caucasian atmosphere with the Armenian language and traditional ethnic/folk elements, this is a truly authentic and organic sound. 'Ethnic-Methnic' their 2009 album features an element of class that cannot be found anywhere else, an element of class in that the beauty of the production and layered sounds are enough to whip the listener into the heart of downtown Yerevan. Progressive Metal meets traditional Caucasian / Armenian sounds in this release that is the band's key to playing at Eurovision 2013.

[8] RHYS STEVENSON - Global Metal Apocalypse


"Review of "Ethnic-Methnic" by an English music portal"

It is always nice to come across band's who stay close to their national heritage and Armenia's Dogma is no exception, mixing together a Caucasian atmosphere with the Armenian language and traditional ethnic/folk elements, this is a truly authentic and organic sound. 'Ethnic-Methnic' their 2009 album features an element of class that cannot be found anywhere else, an element of class in that the beauty of the production and layered sounds are enough to whip the listener into the heart of downtown Yerevan. Progressive Metal meets traditional Caucasian / Armenian sounds in this release that is the band's key to playing at Eurovision 2013.

[8] RHYS STEVENSON - Global Metal Apocalypse


"Review of "Ethnic-Methnic" album on a Brazilian webzine"

Dogma is a quite unique Female-Fronted Ethnical-Progressive-Metal band hailing from Yerevan, Armenia. Dogma was founded in 2008 by Vardan Grigoryan (bass, production) and Heno Grigoryan (guitar, song writing) - two prominent musicians of the Armenian Rock scene who played from 1994 to 2007 in the legendary band “Transcaucasia MDP”. They were joined by the young and charming Zara Gevorgyan (vocalist, lyricist), and Derik Vardumyan (drums, percussion). Vardan is the godfather of the Armenian Rock scene, which he keeps ongoing by organizing concerts and festivals with the highest international standards. He is also the founder of the “Vibrographus” music studio - a recording reference for Armenia’s rock bands. Heno has an especial talent to fuse the elements of ethnic Armenian folklore with Progressive Metal, marking Dogma’s music with the stamp of uniqueness. Derik, who graduated at the Institute of Theatre and Cinema, is regarded as one of the best Metal drummers in Armenia. He also sings in a choir called “Hover”, what provided him with good knowledge of Armenian liturgical music that is helpful when he is arranging Dogma’s rhythmic section. And Zara, who was unknown in Armenia before joining Dogma, has established herself as one of the best female singers of her homeland, conquering the audiences with her incredible voice, sometimes delicate and mysterious, sometimes powerful and passionate. On January 5, 2008, Dogma debuted on stage at the Yerevan State Puppet Theatre in a private concert for an audience made of friends, musicians and journalists. The impressive show boosted Dogma's triumphal start. After two sold-out concerts and 7 well-received festival appearances, Dogma celebrated its 1st anniversary in 2009 by starting the studio work of their debut album, entitled "Ethnic-Methnic" (released on December 26, 2009, by Vibrographus). The record attracted special attentions to the band: in the beginning of 2010 Zara was invited by Ian Anderson (“Jethro Tull”) to do the guest act for his show in Yerevan on September 24. During the concert Zara performed together with Ian, presenting two songs of “Jethro Tull" and two Dogma songs. In Ian's words, Dogma is "The best metal band this side of Mars… and features instruments which are weapons of mass destruction". In 2012 Dogma took part on the Armenian-American musical project “A to A: The World in Harmony” led by “Tod Machover”, the renowned composer and inventor. On May 28, 2012, following an invitation for the “Wave Gotik Treffen” Festival, Dogma played in Germany at the Leipzig Central Theatre. And Dogma really deserves an international career, for their album “Ethnic-Methnic” features an original blend of Progressive Rock, Heavy Metal, and Armenian Traditional Music that was never heard before. “Ethnic-Methnic” brings 11 tracks, (including 2 bonus-tracks), which are mostly sung in Armenian – a detail that contributes to the exoticism of Dogma’s songs. The initial tracks are powerful, dynamic, and clear-cut, hitting the listener with aggressive and memorable guitar riffs that are reminiscent of the 80’s Metal. So “Khaghers / My Games” (3:45) is an impressive opening song founded on solid guitar riffs - but flavored with that extra ethnical spice typical of Dogma’s Metal style; while “Hars / Bride” (5:00) is driven by a powerful bass that recalls “Iron Maiden” and other bands of the NWOBHM movement, but with an ethnical accent on guitars and drums, and a soft part led by Zara‘s wonderful voice. Sometimes, a destructive riff arises reaching epic proportions, like on “Aneres / Impudent” (5:41) – a song that recalls “Helstar”. “Heqiat / Fairytale” (4:22) starts with an aggressive riff that recalls the Thrash-Metal style of early “Annihilator” and “Megadeth”, but Zara shows incredible vocal versatility, and steers the song to the Hard Rock singing just like “Ann Wilson” (“Heart”). On “Khoskap / Matchmaking” (4:15) Dogma ventures through the Ethnical Prog-Metal by interlocking great guitars bass and drums like “Dream Theater” with Zara’s from raging to subtle switching vocals. Those heavier songs are however soothed by the presence of some acoustic Armenian folk songs, such as the sweet “Renaissance” (3:09), the mysterious “Artnatsum / Awakening” (4:29) and the tranquil “Tsov Tsirani / Apricot Sea” (3:31). Track 9 - “Aystegh Kmnam / I'll Stay Here” (6:31) is a Dark-Progressive piece that recalls “Porcupine Tree”, “Riverside”, and “Frequency Drift”, featuring psychedelic moments and spine-shivering choir. It opens way for the bonus-tracks “Limbo” (3:33) (the only one sung in English) and “Qez Ognir / Help Yourself” (4:08): two melancholic ballads with whispering vocals that recall some Progressive bands of Poland, like “Quidam” and “Believe”. In sum, for its uniqueness, Dogma is the right choice for fans of Progressive Rock and Metal with Ethnical roots, being also highly recommendable for fans of 80’s Metal, Oriental Metal, Folk-Metal, Prog-Folk, Heavy-Progressi - Progressive Rock & Progressive Metal


"Dogma Ethnic-Methnic"

/Translated from French/
Armenia is not especially known as a breeding ground for progressive groups: that which grows Dogma approach with caution. This name can be misleading (since the cult film Kevin Smith has the same name) lies a group led by Vardan (bass) and Heno (guitar) Grigoryan, both renowned musicians in the country, especially for playing in Manic Depressive Psychosis. They are accompanied by Derik Vardumyan on drums and the lovely Zara Gevorgyan vocals. New surprise: the song is almost exclusively in Armenian, more reason to get carried away, close your eyes and take off.

From the first seconds of the disc, the stage is set: the guitars are queens at the Crossroads of Iron Maiden and Opeth (“My Games” and “Impudent” are an obvious example), and appear perfect fusion with the voice of Zara, hemming typical melodies and expensive to Armenia. Besides, her singing sometimes jerky sometimes wildly lyric is reminiscent of the work proposed Aziza Mustafa Zadeh pianist. Between two pieces edgy, a little lull as “Awakening” is welcome, before leaving the hectic pace of “Fairytale” and crazy “Matchmaking”. The disc closes with a flourish, the most progressive part of the album, “Here I’ll Stay,” which the rise could not be denied by a certain Daniel Gildenlöw.

For a first try, Dogma is not far from the master stroke. The consistency of the album is to be welcomed, even if we are to expect more madness (Yet there are on-Ethnic Methnic) and variety. Perhaps in the future the presence of keyboards, and why not strings, could add more relief. But do not be choosy: the potential is there and it is very promising. - Chromatique.net


Discography

In the beginning of 2009 the band celebrated its 1st anniversary and started the studio work on the debut album, which was unleashed in December 2009 with the unordinary title "Ethnic-Methnic" to more closely depict what is inside.
On December 2, 2013, Dogma  finally released the long-awaited second album under the title "Under Dogma"

Photos

Bio

GENRE

Dogmas music is an extremely unique and a compound fusion of Armenian ethnic melody and progressive metal elements, which can transfer the listener from a powerful mountainous landscape to a serene apricot garden in the blazing sun. The Classic Rock Presents Prog Magazine describes it as: Aggressive riffs, ethnic vibes and psychedelic soundscapes all wrapped up with stunning delicate female vocals.

HIGHLIGHTS

In the beginning of 2010 Zara was invited by Ian Anderson, from the legendary British band Jethro Tull to do a guest act for his show in Yerevan on September 24. During this fantastic concert Zara performed together with Ian, presenting two songs of Jethro Tull and two Dogma songs. In Ian's words, Dogma is...."The best musical metal band this side of Mars. Amazing bass player. Brilliant vocals. Searing guitar. Thundering neutron drums. This band feature instruments which are weapons of mass destruction.... Oh, to be so young."

In May 2012 Dogma was invited by the German well-known Wave Gotik Treffen Festival and played a concert at the Leipzig Central Theatre on May 28.

On February 25, 2012, Dogma made part of the musical project A to A: The World in Harmony. The project was a synergy between the Luys Foundation, the Massachusetts Institute of Technology, the United States Embassy in Armenia, the Armenian Philharmonic Orchestra and Dogma band. Dogma presented four musical pieces composed with Hyperscore by the children from the United States and Armenia, led by renowned Composer and Inventor Tod Machover.

Dogma is a desired guest of all big local and international festivals taking place in Armenia (see www.dogma.am / media). Dogmas concerts are always sold-out and long-expected by its fans. In summer 2011 the band gave a big open air concert in the center of Yerevan, Sharl Aznavour Square and performed as a headliner at the international Yerevan Summer Music Festival held on August 26-27-28 in the Liberty Square.
Later in December followed the live in concert with the title Under Dogma.
In 2010 Dogma presented its first official video clip to the song Renaissance a uniquely beautiful story with finger heroes.

PRESS

In summer 2011 Dogma was approved by Ian Anderson for the Classic Rock Presents Prog Magazine /issue 18/, which published an article about Dogma.
In 2009 Dogma was introduced to the readers of the Metalized Magazine, the biggest heavy metal magazine in Denmark, on the section presenting new bands.
In winter 2011 the Armenian cultural TV channel Shoghakat prepared and broadcasted a 15 minutes documentary film about Dogma.
See "Press" for more links!

BIOGRAPHY

DOGMA is an Armenian ethnic progressive rock/metal band created in 2008 in Yerevan. It was found by two famous in Armenia musicians bassist Vardan Grigoryan and guitarist Heno Grigoryan, who both played in the legendary in Transcaucasia MDP band from 1994 to 2007. In December 2007 a young and charming vocalist Zara, who was totally unknown to the music sphere, joined Vardan and Heno. Soon after that Derik Vardumyan, who is a famous musician and drummer in the metal sphere of Armenia, teamed up with them.
The first private concert was on January 5, 2008, in front of an audience of just friends, musicians and journalists. It turned out to be something impressive indeed, something rather unexpected. And this was Dogma's triumphal start.