Dear readers, we are pleased to offer you in this article an interview with a historic Brasilian band with Progressive Rock sounds, with a new album due out in 2024. We welcome Dialeto.
Hi, welcome to our pages, how are you?
“Hello Jacopo and readers of Progressive Rock Journal, I hope you are all doing very well, certainly listening to good music. As for me, I am doing great, thank you.“
The band was formed in the mid-80s, how did the project and the choice of the name Dialeto come about?
“The band started in 1987, and the name Dialeto came from the idea that we already had our own unique musical language (Dialect), which was not very common at the time. We combined heavier classic rock with traditional progressive rock, experiments with oriental scales, and the chromaticism of avant-garde music.“
What memories do you have of the band’s early years and how was the prog scene in Brazil at that time?
“The early years were quite difficult because, at that time, our music went against the prevailing New Wave and Post-Punk trends, an era when guitar solos and improvisations were not well received.“
Regarding this, how did your passion for the Progressive Rock sounds that characterise your style come about?
“Having spent my teenage years in the 1970s, my love for progressive rock came very naturally. That was a time when bands like Pink Floyd, Focus, ELP, and Genesis were very popular. ELP filled stadiums, and the movie Pink Floyd at Pompeii was shown on TV multiple times. There were also great Brazilian progressive rock bands like O Terço, Os
Mutantes, and Som Nosso de Cada Dia.”
Your new album “Pandelirium” was released on February 2024, how would you describe this work?
“Pandelirium is a multimedia work consisting of a book, a series of paintings—both created by me—and the Dialeto album with five songs. In the book, I tell the story of my experience as a severe COVID-19 patient, which I contracted at the end of March 2020, right at the beginning of the pandemic. I was hospitalized for 47 days, spending 8 of those days intubated. During this period, while in a coma and intubated, I had a series of deliriums that I describe in the book, which gave rise to the name of the work. I also recount the entire hospitalization and recovery process, along with the inevitable existential reflections that such an event brings. Since I am also a visual artist, I created 12 paintings illustrating the deliriums and other passages of the book, and with the band, we composed songs that also refer to the same story.“
Five long instrumental tracks, how does the creative process of your music take place?
“My composition process happens through improvisation, usually based on musical ideas, such as exploring modes and scales that can create a certain atmosphere, evoke an emotion, and so on. In the case of Pandelirium, the starting point was my experience with COVID, and the five songs follow a pre-established chronological sequence.
– The Long Way refers to the first symptoms, ICU admission, the uncertainty and insecurity of the situation, the continuous worsening of my health, and, finally, the rush to transfer the rush to transfer from one hospital to another with better resources to handle my condition.
– The Great Geodesic Hall relates to the period in a coma, intubated, and the deliriums, the state of unconsciousness or altered consciousness, isolation, and loneliness.
– The Long Way Back refers to the extubation process, regaining consciousness, and recognizing the damage caused by the virus and the treatment itself. – Waiting for Numbers represents the period still in the hospital, waiting for the
improvement of daily blood test parameters, followed by dialysis sessions.
– Back Home represents returning home after hospital discharge, the joy and excitement of overcoming that situation, reuniting with family and friends, while still facing moments of uncertainty due to weakened health and slow recovery. And of course, it all ends with good Rock ‘n’ Roll.“
This is your fifth studio album since 1991, how has your sound evolved over time?
“Over time, our music has evolved with the maturity of the musicians, refining ideas while maintaining the band’s characteristic intensity. In the studio, the music has gained more layers, including digital instruments (pianos, strings, winds), which are more present in Pandelirium.“
Many of our readers and your fans wonder if there will be a chance to hear your music live, do you have plans in this regard for the near future?
“Playing live has been quite challenging for several reasons. We held a major release show for the new album in 2024, but not much beyond that. We have plans for shows in the second half of 2025, possibly including a date in Europe, but nothing that can be announced yet.“
How has the way of experiencing live performances changed from the 80s to today and what has changed for you?
“The biggest difference between our early shows and now is the structure and quality of the performances. Since 2015, we have been playing more in theaters, with better sound quality and comfort, as well as visual projections, offering a more refined experience.“
Among South American countries Brazil has always had a rich music scene, how do you see today’s prog scene in your country?
“Progressive rock in Brazil had its peak in the 1970s with the bands I mentioned earlier. Since then, it has become a niche genre with a small but dedicated audience. For a long time, it was a genre dismissed by mainstream media, but recently, it seems to be gaining more respect, with several international bands coming to perform here in major shows, such as King Crimson at Rock in Rio and Beat, which will play in São Paulo this May.“
What advice would you give to young artists approaching music with sounds like yours?
“My advice regarding music is to prioritize meaning over technique. Technique should serve meaning. Music should convey an idea, an emotion, an atmosphere, an expressiveness, and often, not much technique is needed to achieve that. A good example is the great and brilliant Brian Eno.“
The album has been out for almost a year, do you have any special events planned for the occasion?
“We have a great Pandelirium show already set up, which we have performed, with the band expanded into a quintet. In addition to me on guitar, we have Gabriel Costa on bass, Fred Barley on drums, Fernando Alge on guitar, and Fernando Cardoso on keyboards. However, we are still looking for a new date for this performance.“
You are already working on new ideas for a next studio album, can you tell us something about it?
“At the moment, we are not working on anything new. Perhaps in 2026. I have been working on a solo album with songs composed over the years that were left out of Dialeto because they have a different style. I have already released four songs from this album, called Drawer, on my Facebook page and plan to release the full album by the end of the year, taking my time without rushing.“
Do you have any other activities or artistic passions outside of music?
“Yes, I also work as a visual artist, doing drawings and paintings with oil and acrylic paint. I also enjoy animation and have been making some animated videos for the songs on my solo album.“
I thank the band for the interview and wish them all the best for the continuation of their artistic career.
“I sincerely thank you for the opportunity and for Progressive Rock Journal’s support of the band.“
Read our Review here: [Review] Dialeto – Pandelirium
Purchase the album on Bandcamp: https://dialeto.bandcamp.com/album/pandelirium