The band Dialeto continues the MoonJune label's dedication to locating new progressive bands and musics world-wide, not just America and Europe as most do, and The Last Tribe stands as a substantial addition to the tradition not just of prog and fusion but the power trio as well, in this case anchored by redoubtable guitarist Nelson Coelho. His work is more refinedly melodic than the bulk of blockbusting axehandlers familiar to the configuration, reminiscent of the next step in a tradition started in the late mid-20th century by such as Graham Ford (Sebastian Hardie), Jukka Tolonen (Tasavallan Presidentti), Max Sune (Iceberg), George Kooymans (Golden Earring), Joop Nimwegen (Finch), and others.
However, Jorge Pescara is also a potent presence on the expanded possibilities of the bass duties via touchguitars (you knew them as the Chapman Stick and its evolved offspring) and Miguel Angel crashes through in an unusual combination of Bill Bruford, John Bonham, and Alan White in the CD (and congratulations to the band members and Fabio Golfetti in mixing and mastering the heavy studio transcripts in a way that placed the drums perfectly, not an easy task). The entirety of The Last Tribe is instrumental, prevalently heavy (with laconic and sometimes almost balladic asides), but exhilarating, kinda in the direction Alex Lifeson and especially Mike Oldfield tend, but darker.
Nor is Coelho unmindful of the importance of squibs and ornamentalia, as is seen quite nicely in Lydia in the Playground, especially the chordal stops punctuating an array of lead lines in a passage where free flow takes on a more grammatical aspect just before collapsing, leafing into a highly mutated Carlos Santana intro in Unimpossible, something that might have been left on the cutting room floor after all that killer work in Swing of Delight or Oneness, two masterworks now largely forgotten in the prog and prog critic communities. Coelho then adopts very Finch-esque moves mixed with colorful interlocking lines. As the promo lit correctly avers, this group does not stay rooted in any one place for very long, preferring exploration and innovation. Those notes also claim Nelson and his confreres to be "one of progressive music's most vital new voices", and I have zero argument with that. Let's just hope they aren't as ignored as the marvelous One Shot was.
Edited by: David N. Pyles
Copyright 2013, Peterborough Folk Music Society.
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