4

Ever since hearing their debut back when I first joined PA in 2008 I've been interested in this band--have collected and listened to their albums with great interest. While none have really lived up to the stunning of the debut, the band continues to explore its raunchy, dirty sound that seems to pay homage to the raw and minimally-processed/effected sounds of the bands from the 1960s that they seem to revere (the early "Krautrock" bands). This new album sees the band continue to explore and perfect that sound.

1. "Amon" (8:23) great sound engineering: dirty and raunchy where it's wanted (guitars and vocals), clear and distinct everywhere else, all recorded lovingly in a 1960s way. Nice groove with hand percussion supplementing the drums and a fantastic use of saxophone (an instrument I usually do not like). At the 5-minute mark we turn the speedometer down quite a bit for a hauntingly spacious organ and picked-guitar-supported vocal section which then turns into a synth-solo space soundscape at the end of the seventh minute--which plays out till the song's end. Unusual, almost odd song. (17/20)

2. "Chroma" (4:47) opens with a little weave that, when the saxes enter, remind me of Norway's SEVEN IMPALE. Choral vocalise is added in the second minute as saxes and bass repeat a riff over and over. Then, at the end of the second minute, there is a pause for a reset, after which the cohesive band reenters with a pleasant groove for a bit. Another break serves to allow another restart, this time in support of a sensitive sax solo--one that continues in the lead for the final two minutes while several continuous instrumental riffs are woven together behind. Nice (8.5/10)

3. "Spinning Array" (5:05) opens with bass line and drum play sounding like the start of some 1970s R&B-funk tune. The rest of the band joins in with vocals--doubled leads and background harmonizing tracks. Nothing exceptional here in terms of instrumental expositions other than some traditional sounding Celtic flutes and pipes. It's actually quite a simple arrangement but always interesting as instrumental and vocal licks sneak in and out of the listener's attention. I like it! (8.75/10)

4. "Stellate" (6:29) an instrumental with a Krautrock sound that is some of the most CAN-like stuff I've heard in years (though I also hear the foundational music for Annette Peacock's great "Real and Defined Androgens" as well as the bass and drum lines of Ted Nugent's "Stranglehold"). The boys really groove here--like a long entrained expression of a drug trip. They are tight! Saxes and synths really feel like they're giving their full power to a fanfare-like royal procession. Guitar strays from his key rhythmic contribution to deliver some great little lead flourishes in the second half. Reminds me of Samsara Blues Project or Hypnos 69. The second best song on the album. (8.75/10)

5. "Totem" (11:47) opens with a gentle slow electric guitar arpeggio repeated over and over while other instruments slowly add their minimal support to the trance-inducing weave. Choral vocalise enters in the second minute with ethereal, angelic "aahs"; bluesy sax in the background in the fifth. At 5:10 we restart as a structured slow song with lyrics being sung as reflection of the guitar notes and, in the choruses, as more angelic chants--which then prompt the addition of multiple other voices in support as well as more spacey sounds (coming from guitar?) filling more of the background. This section reminds me so much of Prog Folk legends, MIDLAKE, and particularly their 2013 post-Tim Smith masterpiece, Antiphon. Great Neil Young-like guitar solo in the ninth minute. Great drumming. This section is drawn out a little longer than is really necessary--it could have been accomplished with the same effect in half the time, but it's still great. Best song on the album. More of this, please! (22.25/25)

Total Time 36:31

Though this isn't exceptionally difficult instrumental play--no Yes-like noodling or jazzy solos--the band members are all competent and confident on their instruments and they play so tightly! The music here just grows on you--I like it more with each listening. This is now my second favorite Diagonal album, just ahead of Arc.

B/four stars; though the album feels pretty short, it measures out the same as any single-disc vinyl album from the 1960s or 1970s. Recommended as an excellent addition to any prog lover's music.

Don't care much about an imaginative album title ... when your music is appealing ... simple as that. At least it's quite a subtle reference that we have the band's fourth album in consideration here. With every instance they are going for a more multi-dimensional attitude. Some significant trademarks are stable, let it be Alex Crispin's unmatchable vocal part for example, or the jazzy and partially Middle East flavoured wind instruments contributed by Nicholas Whittaker. This exemplarily proves the track Chroma. Line up and overall feel have remained over the course of time. Nevertheless they fortunately are trying to avoid standstill, always want to go further in composition and sound.

Thus being motivated by many positive reactions regarding the previous 'Arc' album the DIAGONAL crew intended to take advantage of the momentum, and went into the studio for some new recordings very soon. That's the main reason that it solely took a two year gap for a new one this time. A good move in any case. As for the global impression, on this occasion you will detect more psychedelic elements within the sound. Where the title taken for the opening song Amon actually appears as a reference to the German krautrock band Amon Düül II. Must admit, I (yet?) don't really can get it, this is a bit of a stretch. Nevertheless here we have a fine and typical DIAGONAL song, though featuring a rather kosmische ambient finishing anyhow.

And then the instrumental Stellate mutates to another excellent heavy psychedelic tinged tune, provided with a proper jamming attitude. The closing Totem makes the long track. Showcasing an extended relaxed period at first, underlaid with a looping guitar figure and ethereal vocals. But this is gradually evolving into a somewhat thunderous finale. 36 minutes playing time, eh, due to the extraordinary entertaining compositions that passes so quickly. Hopefully there will come more soon. Why not taking advantage of the positive flow again? On the other hand, if needed please take your time DIAGONAL, in order to offer something substantial once more. By the way, if this meets your taste, I strongly recommend to check out the side project BARON, headed by Crispin and drummer Luke Foster, soundwise a tad more mainstream rock oriented.

Two years passed after "Arc" and thirteen after their eponymous debut album. Regarding its fourth release, DIAGONAL wanted to keep it simple by introducing their last opus "4" as SOFT MACHINE and LED ZEPELLIN at their time. You don't change a winning team by taking over the same troop made up of the same six musicians. Formed in 2006, they started on stage in 2008 by hitting directly in the wood during like a seasoned and informed formation. Their music is inspired as always by the old guard, but without the dust on the shoulders, with this faculty to be able to apprehend practically all the styles and to diffuse richly appreciated compositions. Even if the structures evolve by focusing a little more on the guitars, the trends do not change and remain resolutely in a modernized psychelic of the sixties, completed by jazz / rock, post / rock space / rock accents with tints of krautrock and a hint of stoner. Some influences can be mentioned: GONG, HAWKIND, RIDE, THE SOFT MACHINE, RÖYKSOPP ... The cover is soberly illustrated and gives off a minimalist aspect, with a square in its center revealing a paradoxical optical illusion. We can all the same regret the somewhat short duration of the recording culminating at 36 minutes, the most succinct of their discography. Let's see more closely if the perfidious albion will be able to forget the new taxes collected by the postman ...

"Amon" is a tribute to the German group AMON DÜÜL II. This piece starts off strong with a slightly ramshackle guitar playing alone in stoner mode, taken up by a flamboyant sax and rhythmic as rarely heard. This introduction reminds me of a step forward with a voice that resolutely monopolizes the atmosphere and the scene, evoking a kind of intoxication traversing the great rock road which will only stop at the end of a fabulous road. trip. It's terribly catchy and jubilant, I love it! The continuation will be done by successive declinations and progressive decelerations to end on the electronic atmosphere and to extinguish, with for intermediary a bass / well cadenced drums, an omnipresent sax tuning to a voice which reminds me of that of the singer from NEKTAR, and synths galore. Licked melodies and arrangements which are in my opinion what is best done in the genre, a song which tends to become legendary! (10/10)

With "Chroma" DIAGONAL shows us his interest in jazz, this jazz which merges with modernized choirs like RÔYKSOPP on brassy and woody Latin rhythms with a Luke FOSTER who brushes his drums like a jazzman (8.5 / 10). "Spinning Array" opens with a funky rhythm section followed by syncopated vocals like RIDE, a post / rock alternative rock band. Long guitar lines, a synthetic bagpipe evoking the Scottish moors and intense and multicolored flutes will shine these monotonous but deep songs (8/10). "Stellate" is a pure space / rock product that burns through and through. With a sax which gives the [%*!#] to a vibrating guitar trying to pass above this haughty and noisy brass. The battle hardens, the guitar regains control by dint of perseverance not to let go until the end. A bass with stoner sensations will restore the six-stringed impulse like a rocket launched into space. By rolling your eyes to the sky, you will be able to perceive a guitar consuming a thousand lights and reach the high galactic spheres (9/10).

"Totem" begins with a monotonous and repetitive five-note guitar, generated by voices without words and a sax without much presence in a dreamy and vaporous atmosphere. A change takes place at 5:00 with a small pop melody nicely interpreted and accompanied by an electric jaw harp that ignites until more thirsty to finish in total dissonance like RIDE (9/10). DIAGONAL is overflowing with new ideas and has just taken a new turn by refocusing on the guitar to be more openly inspired by the influences of space / rock or even krautrock. "4" is an enthusiastic album which transmits and transmits an irresistibly contagious energy even if there is nothing to throw away, this opus could have been the album of the year if the five tracks had been of the same size as "Amon ". This title alone is worth the purchase of the vinyl.

Review #4: 4

It's normal to be surprised at how little known a record that deserves so much more recognition can be, but this... completely blew me away. 4, Diagonal's fourth release (a bit obvious), is an eclectic prog album that fuses instruments like saxophone, percussion and complements them with pleasant vocals and rhythms that transport us to the 60's (adding some psychedelia and groove along the way).

Throughout the whole album different and interesting rhythmic breaks can be noted. The excellent saxophone does not go unnoticed in most of the songs, with melodies as soft as they are delicious. We also find influences in R&B Funk and Soul, for example at the beginning of "Spinning", with that bass and drums of the style accompanying, which then passes to a choral voice that in my opinion, is excellent.

Certainly there is also an air of CAN style Kautrock that many will notice, this is noticeable on "Stellate". The album ends with "Totem", my favourite track on the album, and a dreamy arpeggio melody that is progressively complemented by an angelic choir, saxophones, tambourines, etc (adding a spectacular guitar solo in the last few minutes).

Amon: 5/5

Chroma 4/5

Spinning Array 5/5

Stellate 4/5

Totem 4.5/5

5 stars, 9/10. Believe me, you must give this little gem a chance. It is so epic.

Diagonal had a quick turnaround between this album and their previous release, 2019's Arc. Compare that timeline to the five-year gap between their self-titled debut and their sophomore album, or to the seven-year hiatus following that. Needless to say, I'm glad they're putting out music at a brisker pace than they have in the past

I'm also glad that 4 is an improvement over Arc. Arc wasn't bad by any means, but good chunks of it felt unfocused or needlessly drawn-out. On this new release, the band sounds energized and full of new ideas, and that musical vigor shines through in the five compositions present here.

"Amon" opens the album with a fuzzy, jangly guitar line before the rest of the band joins in. Overall, 4 features more prominent guitar than past releases, and that tonal shift pays dividends here. As is typical for Diagonal, jazz plays a big role on this track. The rhythmic backbone is funky, and the inclusion of congas adds a fun textural element. The middle part of the song is mellower and more meditative, featuring a Canterbury-influenced organ solo and some pretty guitarwork. The song's closing is slow and deliberate, and it fades into an astral soundscape for its final minute.

The opening guitar arpeggio of "Chroma" nearly feels like the lead-in to some early '90s tech death cut, but Diagonal aren't making that massive of a sound change. Jazzy sax and percussion gently propel this instrumental, and wordless vocals are deployed subtly. This is the weakest track on the album, being a fairly straightforward jazz-rock cut, but it's still enjoyable.

"Spinning Array" follows by opening with a relaxed, funky rhythm section. The slowly-enunciated vocals  and rich guitar and keyboard tones add an almost ritualistic feel. A Chinese flute (hulusi) brings an exotic and haunting air to this track. There's a certain gravity to this song which is well-served by its slow flow and rich atmospherics.

A simple drum beat serves as the opening to "Stellate" before fuzzed-out guitar and throbbing, wobbling bass burst into the soundscape. This instrumental cut began life as what the band describes as a "controlled jam," and that genesis is evident in the way this song progresses. Elements of space rock are most evident here in the effects-laden guitar and intergalactic intensity of the soloing. In the song's second half, bass and woodwinds take the lead momentarily until guitar once more ascends to the forefront with a searing solo.

4 ends on its longest track, the 12-minute "Totem". Its opening moments are dreamy and floating. Echoing guitar lines unfurl slowly, establishing an unhurried mood. Instrumental elements are repeated as they accrue, adding lushness and depth to an idyllic setting. Around this song's midway point, the band coalesces into a folky verse, reminiscent of moments on More and Meddle. Much like in the song's first half, this part of "Totem" swells slowly. The song closes on a stellar guitar solo which starts life as long, languorous notes but builds in intensity across multiple minutes.

4 represents a shift in Diagonal's overall sound. It's more guitar-centric and draws more directly from space rock and krautrock influences. But it's a shift which suits them well. I'm hoping on future releases they can even more fully-integrate their jazz and Canterbury roots with this new direction. As it stands, though, Diagonal's fourth album is a strong entry in their discography.

Review originally posted here: theeliteextremophile.com/2021/10/11/album-review-diagonal-4/