Album Review: DIANA – Perpetual Surrender
The Toronto quartet may have been forced to change the name of their debut album, following the discovery an existing band of the same name had pipped them to the self-titled record post, but change is something this particular DIANA are not only accustomed do, but do really rather well.
Founding members Joseph Shabason and Kieran Adams met while studying and performing jazz together at music college, before lending their skills to a number of bands. Similarly, the languid, whispering vocal that dominates Perpetual Surrender’s proceedings, is courtesy of ex-Spiral Beach member Carmen Elle.
All change then, and this coming-together of various, musically experienced projects culminated in the emergence of an attention-grabbing debut single, which floating its brilliantly-timed way across the internet last summer. ‘Born Again’ highlights the band’s character and intent: it is filled with lush synths, a sizable, intuitive key change and Elle’s gorgeous tone; “Lay your hands on me, I need healing” the chorus cries out in a dreamy highlight of the song, and indeed the album.
In just eight tracks, they show pristine levels of versatility; the glistening Miami Vice-esque hue of ‘That Feeling’ has a fidgeting synth quality to transport you, pastel-suit clad, to a sun-filled beach front. One of the albums upbeat high-points, it showcases their ability to dive into funky, head-bobbing territory, as a pulsating, staccato bass juxtaposes the shrill, synthesized strings.
If the preceding cut evokes a water-front stroll, the new title track is a dip in the cool water. Awash with colour, it slows-down the action and offers up thought-provoking moments of longing. “I don’t need somebody else/to let me know how much I love you” is as powerful as it is desperate, and there is audible strain in Elle’s voice. ‘Perpetual Surrender’ also harks back to their aforementioned jazz roots, as a sultry saxophone riffs its way along in an effortless, improvised fashion.
Its industrial opening makes ‘Strange Attraction’ exactly that, and it provides one of their most potent choruses; a punchy melody is given increasing depth and power as it returns for the closing, higher registered melody, proving an inspiring, fist clenching refrain.
Longing returns in ‘New House’, the record’s most touching and poignant outing, as themes of wasted love and reluctance are gracefully explored. Blissful, comforting and honest, it is the barest example of their songwriting and takes a step away from the more intricate helix of sounds embraced in the record’s earlier flourishes.
It isn’t perfect; the drifting outro ‘Curtains’ doesn’t add a great deal following the beauty of its precursor, while the chaotic, futuristic moments in ‘Anna’ can feel a bit abrasive and not as compelling as the vast majority of the record.
Overall though, Perpetual Surrender is a transfixing, emotional journey of a first outing that gets better the more you let it wash over you – yet another musical product Toronto can be very proud to call their own.
– George O’Brien
