I don't know if I see "movement," though I do see energy

Fair point - I wrote that in haste - it's certainly more an attempt at dynamism than movement.

As for its intended use, I think initially it'll be for digital promotion. Then, as soon as they begin to tour (they've recently been booked to support a major artist for his UK dates) it will move to print.

It did cross my mind that the diagonals may not suit smaller sizes, but probably not significantly enough until you pointed it out. I'm not averse to thickening them a touch to suit, or entrusting them with two (or more) versions.

Thanks for the input frode frank.

I think I know what you're saying about those particular sets of 'cuts' - they're not ideal - I just wanted to get a sense of whether you guys felt it worked as an idea. There will certainly be composition revisions.

But about the spacing; I wasn't completely sure how to approach this.
The design was built on a grid, with the strokes being 1 unit wide and, when unaltered, each glyph is roughly 1 unit apart, as below:

Although it's not perfect I think it's reasonably close in this way. But obviously as cuts are made the spacing increases in areas - most notably between the Z and E. I wasn't sure whether people's eyes would automatically fill-in the missing areas and mentally construct an image roughly as shown, or whether I should treat each shape as new and then space it accordingly - possibly risking letters virtually 'bumping' into one another. I do trust your opinion on this, but I'd like to know if others felt the same way, as though there were too much space in areas, rather than imagining extended letters, spaced as illustrated.

I tried a 45° diagonal on the N, but wasn't sure if it would make that letter too wide, I may well retry it.