DIALECT [AKA: WILL EXIST FOREVER]

Will Exist Forever can be summed up in a single word: fun. This album is not deep. It is not beautiful. It is not diverse. It will not shock you or appall you. However, if you are willing to let yourself be caught up in some very groovy, mid seventies metal style jams, occasionally with a toss of the spacey, then Dialeto is will doubtlessly prove...well, for lack of a better word, a very fun band.

Will Exist Forever opens up with “Vermelha,” a pure instrumental that showcases the band’s “middle eastern metal” vibe. It’s a rousing number, and a nice opener, as well as a decent showcase of what the band can do. Much more memorable, however, is “Mme. Blavatsky.” It reeks of early, still psychedelic, Black Sabbath, complete with an evil riff. The riff is a tad repetitive, but things are kept interesting by creepy violin noises in the background, and a stuttering guitar solo.

“Existence” is another rocker with an evil, eastern riff...but it’s a bit too thin for its own good. “Enigma” is more of the same, but a slight improvement—the stream of consciousness style of delivery makes it much more intriguing. But these pale in comparison to “Animal,” which shows Dialeto doing what it does best: setting down an infectious avant-garde groove, and running with it. The results are ridiculously easy to headbang along to.

“Anger” presents another metal eastern groove, which is fun, but not quite as fun as “Animal.” However, the high point of the album is probably “Seven Drunks,” another instrumental. But what an instrumental. This is one of the grooviest art grooves I’ve ever heard, easily worthy of Larks’ Tongues in Aspic era King Crimson. The band really gels on this one; the guitar work is fantastic, but I could listen to the rhythm section all day if I wanted.

“Misty Queen” is an attempt to combine the two aesthetics that fails: a nutty stream of consciousness rants that ends up in a jazzy groove. However, the opening is weak, and song feels disconnected and falls flat. The album closes shop with one final instrumental, “Gunga Din.” It’s a nice outro, no “Seven Drunks” perhaps, but a decent metal groove.

All in all, when Dialeto sticks with what works, it works. And what works? What works is that classic metal groove they do, when they start to sound like a (successfully) funky Led Zep. Case in point, my highlights are things like “Seven Drunks” and “Animal,” where the whole point of the song is the bass and drums working up some kind of rhythmic storm, all while the guitar freaks out. The psychedelic stream of consciousness touches are nice to break up the action (Mme. Blavastky, Enigma), but when they get out of control, it usually doesn’t end well.

But that’s a big usually. For the most part, Dialeto seem to know what they’re doing. They’re a good set of musicians, and very attuned to each other. When they jam, it might not be the most technically perfect sound on the planet, but it is a very, very enjoyable one. If anyone out there likes the heavy, jammy side of King Crimson or Deep Purple, then Dialeto is definitely a progressive treat.

(As a super special bonus, CD copies of Will Exist Forever contain two extra tracks. “Just For Free” is a fairly aimless instrumental that contains all the technical wizardry of “Vermelha” but none of the charm and atmosphere. However, the Portuguese version of “Animal” is great; it sounds more natural than the album version, probably due to the fact that it’s in a language I can’t understand. Which helps me to focus more on the groove, which is fine as far as I’m concerned. Neither track is particularly essential, but you won't hear me complain about the additional run through of “Animal.”)

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