Tonight dEUS kicks off their Australian tour. Australian webzine The Vines describes dEUS as one of the longest running, most critically-acclaimed bands bands that you’ve (probably) never heard of. Further more Tom also talks about touring the US and the EP’s they’re recording. In the interview Tom also says why it took them so long to play Australia.
Every time we wanted to come to Australia something came in between us. In ’95 it was our bass player [that] didn’t want to go. We were invited by PJ Harvey to come and our bass player had other business with his side-project at the time and didn’t want to go. And then in ’99 we could have gone with Blur but the record company didn’t want to pay for it. And then you know, life goes on and it’s ten years later. You have another chance and now we’re taking it.
A nice interview with an Australian magazine
On the eve of their first ever Australian tour, Tom Barman from Belgian indie legends dEUS tells Steve Bell about the positive power of change (when combined with a touch of tolerance).
There’s a very nice interview with Tom in DS Weekblad, a weekend magazine from Belgian newspaper De Standaard. There’s a small extract (in Dutch) online here.
Jean-Yves translated an interview with Mauro by Dutch website Written in Music. You can read the entire translation on the dEUS-fanforum Nothing Really Ends. A short snippet about Mauro’s contribution to dEUS.
Tom’s the leader, and we’re all absolutely comfortable wit that. For this record however, he’s been harassing us to come up with new music. More than ever, we’ve been looking for songs and melodies as a group. We’d say, come on Tom, please come up with good songs, we enjoy playing them, but he really wanted this one to be a proper band record. My contributions are subtle, refined. I’m originally not a rock musician, I’m always after sounds that would scare away other indie rock bands. You can hear that in the chord patterns, for instance. On the title track, it’s almost bossanova. Or the colourful chors on Constant Now…. Those are examples of my overall contribution. The arrangement on that song comes from Klaas by the way. Beautiful!
Earlier this week, Tom was interviewed during Tomas staat op on Studio Brussel. Watch the interview below.
Tom also talked about a couple of songs.
Twice (We Survive): “For the first time I really go straight into a song, it would be pointless to explain what it is about”
The Final Blast: “I wanted to write a song about Brigitte Bardot, but one has become my mother”
Dark Sets In: “This song almost didn’t make it to the album , but thanks to our producer, we found a brilliant solution”
Ghost: “The idea of this chorus is Tim Vanhamel which we are very grateful”
The End of Romance: “The first song ever where I do a ‘parlando’. Unique, because I do not like my speaking voice”
Easy: “This is the last track of the album with an orchestral end of Mauro”
- Tom tells the story about the artwork (again). He found the picture in a newspaper, cut it out and put in a cd-case on the piano in the studio. He hopes that people also wonder what these people are photographing when they buy the album. The picture is made by Matthew Oates, aka The butterfly man.
- He writes his lyrics quite fast, but sometimes does not really know what exactly he’s writing about.
- Keep You Close is the first album they really made together. Tom thinks it’s more fair towards the rest of the bands. He really likes that a lot of the songs are powered by Alan and Stéphane
- About the recording with Greg Dulli: “a fantastic moment to see a man who means that much to me nail exactly what we wanted” (the Dulli-howl on Twice)
- Playing the songs live before the release is the ultimate Pepsi-test. The 9 songs that are on the album are really working well during the rehearsals for the live-show
- They are no longer making problems when the record company makes ‘weird’ single-choices (Keep You Close in France)
- He is seriously considering quiting giving interviews.
- He is looking forward to the new tour and the new live-show
You can listen to the interview (about 20 minutes) here.
Just a couple of days after the Berlin Festival, dEUS will return to the city. Next friday dEUS will play the Berlin Live-minifestival in Trafo, a showcase organised by German tv-station ZDFkultur. The show will be broadcasted on tv on November 5th.
Click here to put yourself on the guestlist.
Update: dEUS will also play Berlin in November (as announced at Berlin Festival). On November 30th, you can catch dEUS in the Astra.
Both De Morgen and De Standaard will have an interview with dEUS in tomorrow’s edition.
There’s a long interview with Tom on the website of 3voor12. A brief round-up:
- About the artwork of Keep You Close. “It’s a picture from the newspaper. Like every morning I started my day in the studio with coffee, a cigarette and newspaper. Once I saw that picture, I thought, cover. I got it cut and put on the piano. Sometimes you have a better idea after one week, but in this case, I became increasingly convinced. “”Tom Waits once said recording songs is like trying to photograph ghosts. That I recognize in that picture. I see love, concentration, patience. That’s how recording songs works. During the recording of Vantage Point we sometimes ‘lost a song. When She Comes Down is not as good as the demo. The Vanishing Of Maria Schneider is one of the best songs I have ever written, but it does not sound like it.
- Keep You Close is written by the whole band. While working on Dark Sets In they namedropped Greg Dulli and one day later he happened to be in Antwerp.
- “Vantage Point was not a peak period in my life. Not the making, not the tour, not the afterburn. I think it has to do with aging. The album got a lukewarm response and that’s easier to swallow when you’re 27.
- About the political crisis in Belgian: “As a musician, I can not do anything with. But I’m getting nervous when I see that some of my French friends in Brussel cannot speak one word in Dutch.”
- The Final Blast is about his mother. He realises how the war had defined her life. “I sing, “she likes to know the singer in the band, the attraction of the flame. It’s was not hard to take a moral stand before the Germans came. Every Little Thing’s political, there are different shares or black. Do you ever take it personal, there is love in the attack. “