dEUS, is a band from Antwerp (Belgium), they record their album “The Ideal Crash” in the recording studio “En Frente Arte” in Ronda in 1999. That´s why they have this very special relationship with the Hotel Enfrente Arte.

Now dEUS is returning this spring (28th of April 2008) with their new album “Vantage Point” their boldest – and perhaps finest – album to date, featuring guest vocal appearances from Karin Dreijer Andersson from The Knife and Guy Garvey of Elbow.“Vantage Point” finds dEUS at their most adventurous and self-assured, containing moments of brooding grandeur, via propulsive rhythms, icy synths, deadly riffs and punk-funk grooves.

dEUS remain as eclectic as ever, though this new release also finds them at their most emotive and melody-driven, particularly on tracks such as “The Vanishing of Maria Schneider”, where Guy Garvey’s aching harmonies beautifully complement those of dEUS frontman Tom Barman.Having secured their status as art-rock legends during the 90s… lionised by the likes of Radiohead and REM… it is clear that the best was yet to come, as dEUS stake out bold new frontiers for themselves on what is surely one of the finest albums of 2008…


This is a text written by Tom Barman (singer of dEUS)
Andalucia Personal Guide, in collaboration with Hotel Enfrente Arte.

Andalucia is like springtime. It’s old men smoking Ducados and shouting at each other. It’s the walk uphill, puffing from the heat, just to go to that one bar that serves your favourite lechuga. It’s the sweet wine of Malaga. It’s the way people throw everything on the floor of the restaurant, even the ashtrays. It’s the colour of the sky, the colour of her eye, the velocity of speech, the humour you don’t get ‘cause you hardly understand it, but you laugh anyway. ‘Cause Andalucia is smiling at you, and if it seduces after ten o’clock, it kicks ass at one. It’s the sea and the foreign newspapers, the sickening drives through the mountains, the intensity, if intensity is what you look for. It’s the navajas, phallic delicacy, better than mussels, bigger than snails, only available on Tuesdays and Fridays, on the other side of town, maybe. Andalucia is glamorous without stars, rich without money, warm-hearted, and welcoming. Andalucia smiles at you.

barman-enfrente-arte-RECORT-770852A word from TOM:
Hi everybody,

Just a word from me to tell you that our record Vantage Point is finished, it was recorded in Antwerp in our brand new studio by the same name. Release is set for April 21st. We’ll tour in Europe in April and May, playing smaller clubs in the big cities. The plan is then to attack the summerfestivals and return for a more extensive tour in the autumn. I can’t wait to go on the road again. Vantage Point was produced by Dave McCracken and mixed by Joe Hirst. Two young but experienced Englishmen who never stopped working until they got it right. I think they like the Belgian food too. Only problem was, Dave beat me at playing pool and made me lose a lot of money. I’m never gonna work with him again. The line-up is the same as last tour and I think it shows. We’re sounding like a damn tight outfit if you ask me. Some songs are loud and groovy, others, like ‘Smokers Reflect’ and ‘Eternal Woman’ are as melody-driven as you’ve ever heard us. We experimented a lot with the voices so expect some fucked up Gregorian chants over Stef’s and Alan’s rhythm-section. We also welcomed some distinguished guests.

There’s Lies Lorquet from Mintzkov, who sings as beautifully and understated as ever. We’re all secretly in love with her. Then there’s Guy Garvey from Elbow, who sent his vocal straight from the Massive Attack studio where he was working and turned ‘The Vanishing Of Maria Schneider’ into and old-world, super-romantic Technicolor lovesong. And last but not least, there’s Karin Dreijer Andersson from The Knife, who flew from Stockholm to guest on ‘Slow’. She’s got a unique voice and we’re all really proud she delivered so passionately. By the way, I’m finishing the video for that song right now, and it will be presented to you on our new site. You will be able to download it for free in the highest resolution soon. In short: I can’t wait until you hear and see all of this and of course, I hope you like it like we do.

See you soon,


Text by Don Disturbios “Mondosonoro”

Afortunadamente esta vez sólo hemos tenido que esperar un par de años para reencontrarnos de nuevo con el que suma el quinto trabajo de estudio de nuestros belgas favoritos. Y también es una suerte que su nuevo álbum no sólo esté a la altura del anterior si no que, por momentos, incluso lo supera al conseguir una colección de canciones mucho más cohesionadas alrededor de un estilo en el que la pericia instrumental está al servicio de lograr la atmósfera adecuada.

Una densidad tonal que en ocasiones se muestra inquietante con ese puntito de oscuridad soul y ese evidente toque arty con el que tan buenos resultados han cosechado pioneros como los Bad Seeds, Tom Waits u otras bandas afines como The Afghan Whigs, And You Will Know Us By You Trail Of Dead o Gomez. A todas estas, el disco empieza con «When She Comes Down» cuya oscilación funky y negroide puede recordarte a otros colosos de los noventa, Fun Lovin, Criminals, pero sólo hasta que llega el toque épico del estribillo desbaratando cualquier
parecido. La siguiente «Oh Your God» la hubiera firmado orgulloso Nick Cave y, tras ésta, un «Eternal Woman» que evoca la relectura que Johnny Cash hizo del «Hurt» de NIN. Sin embargo, lo mejor llega hacia la mitad del disco con un «Slow» digna del cancionero de Greg Dulli y un single, «The Architect», con ese toque de modernidad post-punk a lo The Rapture. Para finalizar una perla de indie-soul coral llamada «Popular Culture» con la que dan carpetazo a este catálogo del rock más noventas.

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