THE LAST TRIBE

When Leonardo Pavcovic from Moonjune Records sends me an album I expect good and elaborate Jazz / Prog Fusion, but with DIALETO's latest release The Last Tribe, he took me by surprise, never really expected a Heavy Prog power trio without keyboards, but most important, never expected to find such rich melodies in a band obviously oriented towards solos and virtuosity.

The album starts with the trippy but powerful Windmaster, where Nelson Coello and Jorge Pescara make a display of unusual guitar dexterity, well supported by Miguel Angel in the drums, some people see this as Fusion, I would go more with some sort of Hard Rock with Prog tendencies in which atmospheric and distorted guitars coexist perfectly around a beautiful melody. Great opener.

Dorian Grey bass intro reminds me of some sections of Watcher of the Skies, but then they morph the sound into an amazing tribal ceremony, here they leave behind the atmospheres and attack us with heavy artillery. When you listen this kind of songs it's obvious that Rock will live forever if new bands as DIALETO carry the torch, shocking as a slap in the face but that's what Prog is about.

The Last Tribe is a different kind of animal (A wild and untamed one), the tribal sound introduced in the previous track is intensified with a magnificent percussion work, and despite the aggressive distorted guitar, we can still find a very dense atmospheric sound that falls like mist over the listener. Yes, it only lasts 1:56 minutes, but sometimes 2 minutes are enough.

Lydia in the Playground is hard to decipher, if I had to use a phrase that describes the track I would choose "gentle and ferocious", because they play with variations over the same melody, but adding frantic guitar solos and paranouid atmospheres with the touch guitar. Amazing.

Unimpossible reminds me of Santana creating some paranoid atmospheres, well, at least until the mark of 2:21, where the dam breaks and they flood us with some KING CRIMSON inspired dissonances that have certain reminiscence with Lark's Tongues in Aspic Pt I, but much more fluid, despite the constant changes and radical breaks. At this point they broke my mental scheme, but I loved it.

Tarde Demais starts with an electric Flamenco guitar oriented intro that leads to one of the most beautiful atmospheric performances I ever heard, this must be one of my favorite musical pieces of the album, mainly because it works as an intro for the schizophrenic Vintitreis, a perfect duet of tracks that create a fantastic balance between oneiric and frenetic.

Whereisit and Sand Horses are like two sides of the same coin, both aggressive and breathtaking but the second one flows mire naturally than Whereisit, anyway, both must be heard as one song, because they fit like two pieces of a puzzle.

The album is closed by the experimental and incredibly weird Chromaterius, a song in which the band members allow themselves to be self-indulgent. And they deserve it, after an almost perfect album they can afford to take some risks, and as usual they hit the nail right in the head.

The Last Tribe is one of the most extravagant and rewarding musical works I listened in 2013, and deserves no less than 5 solid stars (I must be getting weak, two 5 stars ratings in two days), because it's fresh and innovative, but carries the spirit of traditional Rock with the complexity of Prog.

Highly recommended for fans of extreme and intelligent music.

With their first album for Moonjune Records (and third album overall), instrumental progressive rock trio Dialeto has shown themselves to be one of the most powerful rising forces in Brazil. An eclectic mix of progressive rock, post rock, and jazz, rounded off by a raw and heavy edge, the music of The Last Tribe makes for a unique observation that features some dazzling displays of high-class musicianship. Dialeto's complete sound is created by only Nelson Coelho on guitar, Jorge Pescara on touch guitar, and Miguel Angel on drums, but the arrangements are still full and powerful - Pescara's expressive basswork especially grabs my attention, as his unique playing style and choice of instrumentation adds an original edge to Dialeto's style.

The Last Tribe does have a few shortcomings, though; the production doesn't sound fully professional to these ears (the hollow drum sound particularly stands out) and not all of the tracks are as memorable as the others, but neither of these are crippling setbacks. The bottom line is that this is still an expertly-performed slab of instrumental prog with some great tunes like "Windmaster" and "Lydia in the Playground" to top it all off. The Last Tribe is a strong effort from Dialeto, and any fan of instrumental progressive rock should find plenty to love here!

Instrumental music can be very tricky. Usually you have two roads to follow: the well-crafted road and the jamming away nonsense road.

I have known Dialeto for quite some time and I even reviewed their latest album Chromatic Freedom (2010). I confess that when I have heard that the band was going full instrumental I was a bit worried that they would go down the second road. I also liked their unique and 'weird' style.

Dialeto has new 'wheels' to ride. In the past, the driver of the bass was Andrei Ivanovic, he used to play the fretless bass. In The Last Tribe (2013) Dialeto's low notes were played by Jorge Pescara (I already reviewed his latest solo album progshine.net/2013/06/review- jorge-pescara-knight-without.html). Jorge doesn't exactly play only the bass, he plays the Megatar and touch-guitars. They're like the Chapman Stick, but in Dialeto's The Last Tribe (2013) they fulfill the bass role with an extra. The rest of the band is still the same with Nelson Coelho (guitars) and Miguel Angel (drums).

The Last Tribe (2013) was recorded between the end of 2012 and beginning of 2013 and it's their first international record, being released by Moonjune Records. The album was produced and Mixed by Nelson Coelho and the band and was mastered by Fabio Golfetti (the leader of Violeta De Outono). Not much different from their latest album. Nelson is also responsible for the great cover artwork. The album was released in the format that they call eco-pack. For me it's just a cardboard envelope. Which is kind sad, cause the cover art would be great in a well-made digipack.

But what really matters is the music inside The Last Tribe (2013). And I'm happy to say that my worries turned out to be unfounded. The music on the album is good and interesting. 'Windmaster' opens the album and it's like the track is speaking to you, and it's very clear that Jorge added a new dimension to Dialeto's sound.

Some tracks like 'Dorian Grey', 'Lydia In The Playground', 'Whereisit' and 'Sand Horses' are dense and full of guitar layers everywhere, but never forgetting the melodies. In general The Last Tribe (2013) is very well balanced, the songs are not too lengthy, this is clever, the listener will not get tired.

'Unimpossible' is the longest track with 7'47. It's a bit nonsense till the second minute when the track becomes intense and interesting. Some tracks, like 'Tarde Demais' start with no drums and are focused on the guitar melodies, but as soon as the drums appear they make everything better.

'Vintitreis' remind me of the 'old' Dialeto and it's my favorite on the album. 'Chromaterius' closes the album as a soundtrack to a thriller movie. Once again they fool the listener and the drums comes kicking hard towards the end of the song. The touchguitars play as if they were a cello and everything sounds like a mini orchestra. A good ending, indeed. I'm happy to say that Dialeto's The Last Tribe (2013) is based on good, well-crafted and melodic compositions rather than free jamming. It makes you want to listen to the album again.

Dialeto's could have been travelling on thin ice with this album, instead, they're now driving on the safe highways of good music. Recommended!

(Originally posted on progshine.net)

Oh. My. God. What we have here is yet another awesome band that have been uncovered by Leonardo, this time from Brazil. This instrumental trio comprise Nelson Coelho (guitar), Jorge Pescara (touch guitars) and Miguel Angel (drums) and in many ways are quite unlike anything I have come across before. Apparently this band originally formed in 1987, but were on ice for a long period before getting back together in 2006, after which they released a couple of albums. Last year original bassist Andrei Ivanovic left, to be replaced by Jorge who instead plays touch guitar and this is their first album since then. What makes these guys so unique, is the way that they are bringing together so many different styles and forms of music in a way that is progressive, instrumental, heavy and containing so many influences that one doesn't really know where to start.

So, with an instrumental trio it isn't unusual for there to be plenty of jazz structures and tendencies, and that is indeed the case. But, there are times when these guys move from 13/8 into standard 4/4 without missing a beat and all of a sudden we have shredders that are moving the music in a very different direction indeed. It is slow, it is reflective, it is hard, it is in your face. Miguel is the one person attempting very hard to keep the others in line, as Jorge is not adverse to providing a secondary lead line, very different to what one would expect to a 'normal' bassist (although he can also hunker down when the time is right). But Nelson is a real star, with a wonderfully fluid touch that is reminiscent of the great Allan Holdsworth, yet often much more in the face in the style of Satriani.

This album could only ever be described as progressive, yet there are only the three instruments on show, which just goes to show what can be delivered by those who have totally mastery and understanding of what they need to achieve. This may be their third album in recent years, but the first to get a full international release, and I know that we are going to hear a great deal more from these guys. Just stunning. www.moonjune.com

An instrumental album from what I am led to believe is a seasoned band of veterans from Brazil, here adding a new instrumentalist to the group, "Touch Guitarist" Jorge Pescara. This touch guitar sounds and looks to me like a Chapman Stick--but, whatever. The music here is very much in the vein of so many current and recent Dutch bands except maybe a little more bluesier. The music is interesting though, like a lot of blues, the recording has been performed such that every mistake made by each individual musician (and there are a lot of mistakes here) is right out in fornt and open.

1. "Windmaster" (6:26) opens the album with a nice series of notes from a guitar (though possibly it is the Touch Guitar) before the bass lines, drums, and pedal-volume-controlled lead guitar notes (though, again, it could be the pedal-controlled volume of the treble side of the Touch Guitar, if it has the double pickup plugs like my Chapman Stick had) all join in. At 1:50 the lead guitarist goes into a heavy solo--which lasts pretty much the full length of the song's remainder. Every time I hear this song I find myself wondering, "Is this going to be a Post Rock/Math Rock album?" (8/10)

2. "Dorian Grey" (4:27) Nothing too complicated but strong, catchy riffs and melodies. The competent classic rock guitar solo is right where it should be. (9/10)

3. "The Last Tribe" (1:56) the title song, brief as it is, starts off just like a varied version of song 6, "Tarde Demias," before falling into martial pace to support another, albeit nice extended solo from the lead guitarist (this one having a second background lead shadowing it.) (7/10)

4. "Lydia in The Playground" (5:20) poor sound recording (scratchy) on first lead guitar. Second lead is nice, great sound. Third lead is also nicely played, recorded well. Rolling "Fretless-like" bass throughout is ear-catching. (8/10)

5. "Unimpossible" (7:46) opens ploddingly, as if unsure what pace and style it wants to play--before settling into a very classic blues style. The effect is rather unsettling as it doesn't really work very well---too late-night lounge like. Even when the drums join in and things get raunchy and the bass-line gets very interesting the song just never seems to get there. Not until the 6:35 mark does the guitarist finally deliver us from the hell of mediocrity. (7/10)

6. "Tarde Demias" (3:40) uses some echoing effects to very positive effect, and also uses several very catchy melody lines (bass and lead guitar). At 1:24 lead guitarist Nelson Coelho takes off on one of his solos, leaving the rest of the band to fend for themselves, which, again, they do not do so well. The solo is good. The band comes back together for a nice finish. (8/10)

7. "Vintitrels" (4:19) by now the blues rock format is overstaying its welcome. The music's stark, sparsely treated sound is getting a bit old and grating. The drummer always seems to be following someone else, the bass (Touch Guitar) player is having trouble keeping time (let's face it: he's no metronome, and by now we've discovered: he's no Tony Levin. As a former Stick player, I can say that there is very little here that impresses me.) and the guitarist often seems to wander off into his own world. (As a matter of fact, perhaps each of the three instrumentalists can be accused of being guilty of such.) (7/10)

8. "Where Is It" (5:11) is perhaps the tightest, most Crimson-esque song on the album, which is a nice change and, by now, surprise. Lots of whole-group staccato rhythm and chord playing. The lead guitar solo beginning at the 3:35 mark is also one of his better soli--though, once again, as Nelson goes off into his own zone it seems that the rest of the band fragments and threatens to disintegrate. Fortunately, they come back together for the final 20 seconds. (9/10)

9. "Sand Horses" (4:07) finds the band travelling back again into classic rock time for some standard bass-drums & guitar jamming. Not quite Hendrix or Stevie Ray. (7/10)

10. "Chromaterius" (3:42) uses its first two minutes to let Jorge show us a little of his two handed Touch guitar skill. Dueling a little with Nelson makes it a little interesting, until the music switches over to a very heavy, very lumbering rhythm section--though this section contains what is easily the most impressive drumming and guitar playing on the album. (8/10)

Favorite songs: "Whereisit," "Dorian Grey," and "Windmaster.

Though the album has grown on me considerably upon repeated listens (the mistakes are less glaring/bothersome and more accepted as part of the musical presentation), The Last Tribe is, for me, a 3.5 star album, rated down for sometimes poor recording, for the band members' timing inconsistencies, their breakdowns in 'group weave', and for their occasional lapses into each their own separate universes.

Brazilian trio DIALETO was formed back in 1987, but their initial phase didn't result in any official recordings to be released before the band hit an elongated phase of hiatus. In 2006 they decided to have another go however, and in 2008 they self released their debut album "Will Exist Forever". Since then a further two studio productions have seen the light of day. "The Last Tribe" is the most recent of these, and was issued through Moonjune Records in 2013.

Dialeto appears to have settled into a well defined sound as of 2013, utilizing a fairly vast canvas to craft their own brand of harder edged, instrumental progressive rock. Economic, sparse and effective on one hand yet richly layered with plentiful of details on the other, they merrily wander wherever they want to go, to the enjoyment of listeners with a taste for easily accessible music and challenging escapades both. A CD that should appeal to fans of progressive rock looking for something subtly different and occasionally demanding, especially those amongst that crowd who prefer their music to be of the instrumental variety.

This is DIALETO's third studio album and their first to be released by Moonjune Records. It's pretty cool that Fabio from VIOLETA DE OUTONO and the INVISIBLE OPERA COMPANY OF TIBET mastered this album, he's one of my favourite musicians. My only experience with this band was with their debut which i'm a big fan of but here we are some five years later and unlike the debut there are no vocals this time around. This truly is a power trio bringing to mind the music of later day KING CRIMSON with that muscular instrumental work with prominant bass, intricate touch guitar along with drums and guitar. This is often dark and somewhat heavy, but very melodic and relaxing as well. It really has grown on me from what I thought was a 3 star album to a 4 star recording.

"Windmaster" has become one of my favourite. Talk about a feel-good tune that features some killer distorted guitar leads. "Dorian Grey" has this ground-shaking bass to start before the drums then guitar join in. A tune that takes it's time yet is all of that. Man these guys would be great to see live. "The Last Tribe" is the title track of course but also the shortest song on here at just under 2 minutes. This picks up quickly and is quite catchy. "Lydia In The Playground" is a relaxing track but there are some outbursts that provide some cool contrasts. Some beautiful guitar on this one. "Unimpossible" is the longest song at just under 8 minutes. It does as Ivan mentions in his review sound like Santana early on, mostly the guitar tone in my opinion. It starts to build after 2 minutes until they are ripping it up.

"Tarde Demais" really reminds me of IRON MAIDEN for about a minute and it's again the guitar tone as he solos in a relaxed manner before it changes. Such a calming, laid back track. "Vintitreis" opens with what sounds like vibes as bass joins in then takes over before it kicks in. Love the sound of the guitar on this one. Great tune. "Whereisit" opens with some guitar that has character as the bass rumbles and the drums pound. Cool stuff right here. One of the heavier tunes. "Sand Horses" is complex and building. Check out the bass ! The guitar starts to solo before 1 1/2 minutes than it's the bass' turn. "Chromaterius" is intricate to start as this atmosphere rolls in like a fog. It kicks in hard just before 2 minutes. Nice.

Well worth checking out if your into the all-instrumental thing.