QUARTET DIMINISHED

Quartet Diminished were formed in Iran in 2013 by guitarist Ehsan Sadigh: this is their fourth album, although their debut for Moonjune, and the third with the same core line-up of Sadigh (electric guitar), Soheil Peyghambar (woodwinds), Mazyar Younessi (piano, voice), and Rouzbeh Fadavi (drums) although here they have brought in guests bass guitarist/Chapman stick bassist Tony Levin, and touch guitarist Markus Reuter. The previous albums were all given Station numbers, but here the title 'Deerand' comes from a Persian musical term that means the duration of an instrument's tones. Levin and Reuter need no introduction, having both been at the cutting edge of music for decades, but I think this is the first time I have come across a band from Iran and yet again, if it were needed, this demonstrates just how important Leonardo Pavkovic is in getting world music out to a much wider audience.

Released towards the end of 2024, this album was recorded in just two days at La Casa Murada in December 2022. This 11th century farmhouse located just an hour west of Barcelona, has been converted into a studio by renowned Catalan bassist, composer and sound engineer Jesus Rovira and Moonjune often bring artists together to play in an environment where they can bounce ideas off each other and produce incredible results. That is what we have here in an album which in many ways feels scored, yet there are also areas for improvisation and for everyone to have their say, which is demonstrated in the way that both Reuter and Levin have been given full writing credits.

Only four songs on the album, but the first of these is a four-part suite which is more than 25 minutes long. There is no doubt this is the highlight of the album, a modern classical piece which brings in elements of avant garde, jazz and non-Western influences which take the music in unexpected directions. It is easy for listeners to become used to certain musical phrases, and when hearing music which comes from a totally different background it can be exciting, intriguing, and even a little magical, and that is what we have here. At times the arrangement is simple, allowing space to become a full member of the ensemble, but at others the layers are incredibly complex and tight as the notes weave between each other. There are blisteringly fast runs, or music which is languorous and taking its time as it works through the landscape.

I know Levin and Reuter are inspiring musicians who have very close ties, but for them to come into a close-knit band and then all six record this in just a couple of days is nothing short of remarkable. It is dynamic, compelling, enthralling and exciting all at once, different yet also comfortable and familiar, never stepping too far away from the mainstream yet somehow always being far from it. I have been lucky enough to hear many albums which have involved Reuter and here he is at his most restrained as he ensures he adds to the music without ever taking it away from the others, while Levin also holds back so they both add to the vision without ever making it theirs and moving it away from the concept. This is yet another fascinating release from the Moonjune stable which I highly recommend.

Review originally posted at www.therocktologist.com

It is not a common thing for me to review an album from an Iranian artist or band, but when a label like Moonjune Recordscares to share music with no boundaries, music from all over the world, we can get closer to countries that might not be really known to us, which is why Moonjune plays a big role in world music nowadays, and we have to thank them for that.

This is why Quartet Diminished came to me, because to be honest, I did not know them until 2024 with the released of 'Deerand', the fourth studio album from this four-piece band from Iran. The album has also the participation of two guest monster musicians: Tony Levin and Markus Reuter, so be prepared for a great musical and cultural journey throughout four compositions. It kicks-off with the amazing and ambitious title-track, 'Deerand', a 25-minute epic that is divided in four parts, where we can be delighted by an exquisite mixture of jazz, avant-garde, classical music, and even a bit of rock. The first part is like an enigmatic entrance, like an introduction where we are getting to know them and there are some moments of uncertainty and insecurity, soft elements, subtle music, however, they are ready to break the ice. And when they do it we are initializing the second part of this epic track, the change is evident, faster rhythm, more musical elements, drums, tension and rock, some Crimsonian winks, prog rock nuances, a faster journey that will bring vertiginous emotions. The piano work is exquisite, hypnotizing, but strings and drums wonderfully complement each other with atmospheric nuances and avant-garde tunes here and there, with even some great guitar solos which bring more energy to the already extraordinary experience.

The third part of the epic starts with a guitar riff that is immediately joined by drums, bass and clarinet, in which, to my ears is a great example of avant-garde / RIO music; Rouzbeh Fadavi makes a great job with drumming style, odd-time-signatures, tons of figures, and also lots of emotions. The contrast comes when drums vanishes and Mazyar Younesi's piano takes over, creating a jazzy / classical episode. But a minute later, Soheil Peghambari on sax and, of course, Ehesan Sadigh on guitar join and all together begin to build up a new structure, a fresh multi- cultural and musical journey. In some moments the name of After Crying came to my mind. The last part of 'Deerand' is the quietest of them all, like after the storm comes the calm, so you can close your eyes, sit down, relax and enjoy the music, I bet you will feel satisfied.

'Tehran II' brings more fire with its 14 minutes in which we are wonderfully embraced by the quartet's charm. Atmospheric minutes, some soundscapes and bass clarinet, subtle guitar notes here and there, a dose of tranquility, however, there are somber episodes that may modify the mood, a couple of explosions where drama is added, and though the song is long, it flows so when you think it will take off, it is actually finishing.

'Mirrorside' creates a unison sound with strings and piano, while soundscapes are placed as background. While the seconds pass, it seems to be repetitive, however, the passages never sound the same, because new figures and elements are being played so each round has its own authenticity. It is progressing little by little, adding new nuances and emotions, making us float somehow.

And the album finishes with 'Allegro per il ré' which is an amazing track. Tense piano notes in a RIO vein, Chapman Sitck, bass clarinet, guitar, like After Crying meets King Crimson meets Univers Zero. There are no moments of silence, the quartet and guess musicians always are delivering delicious notes that are stuck with us, I mean, they are able to hypnotize us. After three minutes drums appear and the rhythm changes, becomes a bit more dramatic, faster, full of elements, enthralling. There are some changes in tempo and mood, but the exquisite music prevails during the whole track. Delicious.

A great album, better if you listen to it with headphones, guarantee of a great experience.