Carsten Pieper
Their Arc was one of the positive surprises in 2019, as I have to admit to never have heard by this British sextet before. Their way of mixing different influences is quite special, at least I don't know any other band with a similar approach (although on first listening the indie/alternative rock component might play a lesser role than on Arc).
Favorite track: Stellate.
shaun rogan
Ah the beauty of well executed prog! Been with Diagonal for while and this is their best release so far. Balance between then now and the future so well poised. Should be heard outdoors at maximum volume. Music of the elements. Dig!
Favorite track: Amon.
‘4’ captures Diagonal in full creative flow and with a new twist to their sound as they incorporate elements of space rock, kosmische and post rock to bolster their well-established progressive rock roots. That adage of waiting ages for a bus and two or more come along at the same time seems applicable to their recent productivity. Returning only two years after the release of their previous LP 'Arc', this is a notable break from tradition, having left five and seven year gaps before the previous two. And after much deliberation, the band settled on following in the footsteps of Soft Machine and Led Zeppelin in naming the album after its chronological appearance.
The band returned to the studio only a year after the sessions for 'Arc'. “It was decided that we should get the ball rolling on a follow up quickly, so we booked in a recording date as soon as possible to keep the momentum of Diagonal going whilst people were still excited” Explains drummer Luke Foster. “We found a rehearsal space in Brighton this time around and Alex [Crispin] set up all his recording gear. And much like the 'Arc' sessions we took around a week and a bit and ended up with loads of instrumental foundations that had good structure for vocals and top lines to be added later on”
The result is an assured work that functions wonderfully as a logical progression from 'Arc' yet at the same time has enough shift in sonics to illuminate a different facet of the band. Opening cut ‘Amon’ (a working title that ended up sticking) makes perfect sense as a reference to the German experimental rock band Amon Düül II. Its solid guitar riff foundation careens over an ever-evolving time signature, the three-part structure decreasing in intensity until it dissolves in a cloud of bubbling ambient textures.
'Chroma' explores the band’s interest in jazz. One of the two instrumental tracks on the LP, it showcases the effervescently emotive sax work of Nicholas Whittaker with an intricately crafted solo that unfurls itself over a fluid 5/4 rhythm. 'Spinning Array' is in many ways the track that acts as most of a connecting bridge to the previous album. The stridently crisp bass and drum syncopation of the opening bars giving way to long unhurried guitar lines and vocals. Vocalist/saxophonist Whittaker incorporates some intriguingly different sounds into proceedings with the use of Chinese wind instrument, the Hulusi, as well as the more traditional recorder.
The keyboard presence on this album is less pronounced owing to an instrumental/personnel swap. “There was a slight shake up of who played what on this record. Alex moved over to bass and Dan was on guitar. It definitely created a different sound and vibe: there is more guitar as a result and Crispin's approach to bass is certainly different to Dan’s” Luke tells us. 'Stellate' is a shining example of this shake-up and demonstrates the band at their heaviest in what emerged as a controlled jam. The woodwinds carry the Middle Eastern-tinged melody over a bed of thick guitars, as the time doubles and moves towards a maelstrom of pulsating rhythms and fearsomely lysergic guitar soloing courtesy of David Wileman.
The album is expertly rounded off by the appropriately titled 'Totem'. Beginning with a repeating 5 note guitar figure, it slowly brings to the boil a bed of miscellaneous percussion and wordless vocals. The culmination is a finale of searing guitar and crashing drums, recalling the most ecstatic work of Japanese cosmic rockers Acid Mothers Temple.
Diagonal’s fourth album clocks in at a punchy 37 minutes and will certainly be leaving listeners wanting more. But, who knows? Maybe those proverbial buses will be adhering to a more reliable timetable in the future.
credits
released October 1, 2021
Alex Crispin・Bass, Synthesiser, Electric Piano, Vocals ⋯ Luke Foster・Drums, Percussion, Organ, Synthesiser, Vocals ⋯ Ross Hossack・Synthesiser ⋯ Daniel Pomlett・Guitar ⋯ Nicholas Whittaker・Alto Saxophone, Soprano Saxophone, Hulusi, Vocals ⋯ David Wileman・Guitar
Really enjoy the organ interplay with the guitar. The drummer is tight and bass is steady. They meld sooo well that their sessions could be an entire album side. The use of fusion and progressive beat and tone changes. The Bear
A wonderful homage to the classic prog giants (Yes, King Crimson, ELP, Gentle Giant, etc.) while having more than enough gumption to stand on its own. A truly remarkable performance. 8/10 RJ
Big, clanging psych-rock from this Arizona outfit fuses monk-like vocals with slow-winding guitars for songs that feel like strange hymns. Bandcamp New & Notable May 2, 2016
Though only their third studio album release, these veterans have been around for almost fifteen years--and they keep getting better with each release--which is hard to manage since their quality of compositions, performances, and production have always been top notch. A band that really should be heard! wafiii
