The gODS of rock...er...pop? (Deus in general)

Member Name: moongod

Product:	Deus in general
Date:	25/05/01 (19 review reads)
Rating:

Advantages: High calibre, Unique

Disadvantages: Pretentious tendencies

When dEUS are mentioned in the press, the term 'art-rock' invariably turns up within the same paragraph. When this is put to them they laugh and say they're pop...the gods of pop (Deus meaning God in a variety of languages although they were named after some Sugarcubes lyrics)

The Belgian music scene is thriving at the moment, dEUS leading the way although in recent times being somewhat eclipsed by Soulwax (if you're interested there's also bands such as DAAU, Dead Man Ray, Think of One, Flowers for Breakfast, LIonel Horrowitz and of course Zita Swoon [the singer used to be in dEUS], all of which are worth investigating.

So how have dEUS earned themselves the reputation of being the only Belgian export and very pretentious at that? Well, the scissor-cut violin helped as the frenetic and frantic Suds & Soda initiated their necessary love-hate relationship with Britain and it's press. The odd lyrics, which between language barriers (which the singer, Tom Barman, worries about) with his Continental Americanesque accent, all contributes to the quirkiness of the sound, held together with ever emerging beautiful melodies.

The departure of Rudy Trouve after the first album and Stef Kamil Carlens after the second (in a Bar Under the Sea) and taking with them their experimental tendencies left the flavour that formed 'The Ideal Crash'. A gem of an album that simultaneously shut out all the 'art-rockers' and opened dEUS up to a whole new audience. What's this? The masters of art-rock using synthesisers? Yes, more accessible in some ways, but the Belgian press saw this as inaccessible to existing fans of which there were many at home.

Let's face it, dEUS is the front man, Tommy B. The line-up has changed so many times over the years (including no Scottish drummers, but a Scottish guitarist and song writer for two albums). They're a collective with only one contant, and each artis
t brings with them their own influences which leads to an incredibly eclectic sound which sometimes verges on being arty.

Their eclecticism is reflected in their inconsistency playing live. This invariably depends on how good relations are within the group. But when they're good, there is no one better (and this is most of the time).

As an initiation, I'd recommend trying out 'In A Bar Under the Sea', if you like the experimental songs, take a listen to 'Worst Case Scenario' and the experimental playground that is 'My Sister=My Clock'. If you prefer the haunting little melodies, go for 'The Ideal Crash'. You can't go wrong.

If the listener can develop and grow with them, they're in for a treat!

Summary: