It’s only a band; remember it’s only a band. So why on earth does the first rumble of Tom Barman’s fragile voice cause the eyes to prickle and form great big tears of relief? Maybe it’s because those who fell so deeply into their world of hotel lounges, Beefheart toms and murderous relationships haven’t dared speak of their absence, simply because it was a loss that was just too keenly felt. Six years since what was thought to be their final album, The Ideal Crash, there is still no one that comes close to the avant-garde, nocturnal journeys of this Belgian behemoth. With the original line-up gone, it’s been left to founding member Barman to surround himself with musicians who have helped him sound more like vintage dEUS. Opener ‘Bad Timing’ happened to be the final song committed to tape whilst recording, yet it’s a natural way to start; reclaiming their fatalistic, sinister sound. In the same way that ‘Roses’ and ‘Suds and Soda’ built into earth shattering melodies that sprinted for the finish line, ‘Bad Timing’ features Barman characteristically holding his vocals back, maintaining a menacingly tuneful huskiness whilst all the dramatics are left to slicing guitars and driving, fuzzed up bass. As The Ideal Crash couched itself in an intricate, serene world, new single ‘7 Days, 7 Weeks’ is its natural successor, with Barman is in advisory mode and the soft, salutary tones being handed gravitas by the soothing female vocals. Long-time friend and frontman Tim Vanhamel adds his