|Kyle Allbright||25-June-2009||Dialeto Will Exist Forever|
Andrei Ivanovic / Fretless Bass
Miguel Angel / Drums and Backing Vocals
Nelson Coelho / Guitar, Vocals, and Scratching Violins
Dialeto is Portuguese for “Dialect,” which helps to identify this band quite appropriately, considering their style of dark heavy progressive rock with a Middle Eastern twist and pulsating grooves. The riffing of Andrei Ivanovic on the fretless bass reminds me of King Crimson, but this band is unique in their own right. Although there is a dark, tribal element to this album, it’s still a fun album. There is something ritualistic about the music that would compliment the ambience of a pagan bonfire. Spiritually hypnotic, executed fluidly, and with enough odd time signatures to keep fans of compositional complexity happy, these are the sounds of space rock brought to the earth, as if the trees were uprooted and orbiting Stonehenge, or the jungles returned to the Pyramids.
The earthy groove is consistent throughout, but some of the production is inconsistent. Depending on your preference, this may not appeal to you, or you may find it charming. The album was put together in an unconventional manner, recorded originally at the Carnival of 1990, and then re-recorded (for the most part) for the 2008 release. The imperfections of this re-recording may turn off some purists (think of Peter Gabriel re-recording his voice for the Genesis archive collection). The drums often sound distant and far removed from the guitar and vocals.
The lyrics offer little in terms of profundity, but are adequate in terms of simple poetry adapted to fit the mood and structure of the music. I can’t imagine how this album would come off if the lyrics were too obtuse or pretentious to fit the mood of the music.
The opening guitar solo reminds me of something David Gilmour would have played, so at first I thought I was in for a Pink Floydian throwback album, but after the two minute mark the drums and bass make their entrance, and we are rooted in the hypnotic groove that defines this album. The next song, Mme. Blavatsky, is one of the highlights of the album, demonstrating their tendencies towards Middle Eastern hypnotism with King Crimsonisms playing amidst an array of unique space rock. By the time you reach the third track, you will have definite grasp of the impressive grooves these guys are capable of executing. A similar approach is found throughout the rest of the album. Animal has an especially engaging bass line, and it may be the easiest track to tag “progressive.” Seven Drunks is another captivating track, and Misty Queen starts as quieter and slower song building towards a psychedelic and hypnotic fire, coming full circle with an aggressive groove.
If you are looking for something unique, then this is the album for you. I have yet to come across anything that sounds quite like it. It may be a bit repetitive for some listeners, but if you like droning, riff-driven, spiritually infused tribal-like jamming, then this is one you will want to try. Highly recommended.
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