Diagonal's lineup pretty much imploded after the release of its promising debut in 2008, reducing the progressive rock septet to a more limited five-man ensemble heading into this sophomore comeback, appropriately named
The Second Mechanism. The loss of personnel hasn't outwardly affected the group's vintage ‘70s sound all that much, however, except in one crucial area: the vocals have pretty much gone AWOL! Not until the album's fourth track (and keep in mind these are long, long tracks), "Hulks," does
Diagonal hazard the use of human voice, and while some would argue the group's focus was ever on extemporized instrumental interplay to begin with, who can deny that this move is risky at best, commercially suicidal at worst? In any case, it's not like the mainstream, music-consuming masses were intended targets for the typically free-form, creatively itinerant arrangements driving
Diagonal's jazz-infused prog manifestations, which seem, above all else, beholden to reproducing a quintessentially British prog sound with an extra-special affinity for the early-'70s Canterbury Scene's whimsical psychedelic nuances. Yes, aggressive guitar bursts occasionally interrupt this abiding philosophy, and a belated display of intensity invades the closing "Capsizing" (perhaps explaining
Diagonal's relationship with Metal Blade Records), but more representative cuts like "These Yellow Sands" and "Mitochondria" spend the bulk of their duration either lounging in
The Court of the Crimson King or traipsing through paisley fields alongside
Camel or
Hatfield & the North -- only getting as far off course as to reference the
Mothers of Invention in a few jazzy bits. None of these comparisons diminish
Diagonal's ability to exploit them in their own creative way, nor do they translate into a landmark musical achievement, so perhaps its best to take
The Second Mechanism for the promising proof of life it is, rather than a triumphant return and everyone will go home happy.