Listening to funeral doom is something that goes beyond the simple enjoyment of a musical genre but represents belonging to a small circle of people who, amid notes aimed at sketching caducity and the ineluctable approach of the end of existence, paradoxically find the impulse to live more serenely and consciously the time that fate has decided to grant them, whether little or a lot. For the same reason, it has something miraculous to discover that, periodically, new musicians emerge devoted to a genre with almost no commercial outlets and difficult to export live. Deos is a band based in London but made up of Romanian Daniel Neagoe and Belgian Dehà; both have had experience within bands grappling with different genres but, despite this, judging by the outcome of Fortitude, Pain, Suffering, it certainly seems that funeral is an integral part of their DNA, so close to perfection does this work come. Beyond the introductory track (which, for the avoidance of any misunderstanding of its themes, is titled Introducing Suffering) the four long tracks that make up Deos‘ debut album are as many sorrowful wanderings to an unspecified place outside the boundaries of time and space. The sound of ours draws sap from the inescapable Thergothon and then approaches, at the level of song structure, more recent realities such as Comatose Vigil and Ea, with keyboards playing a predominant role over guitars. If, as scripted, an album of this kind certainly does not undo the paperwork in half an hour or so, all the more reason that its listening requires special dedication as well as familiarity with the genre, since its emotional climax is reached in the very final two tracks: Neverending Grief, a suffused, exclusively instrumental funeral march, and the masterpiece The Corruption Of Virtue, an authentic quintessential funeral with its riffs suspended over the abyss while a keyboard with tragic and solemn tones accompanies the gurgling suffering of a voice that has lost all human semblance. With this successful debut of theirs, Deos add themselves to the list of bands to follow for that handful of fans capable of appreciating the aching beauty of funeral doom.
2013 – Independent 2014 – GS Productions