Now "In A Bar Under The Sea" confirms and expands on the dEUS whimsy. Yowls, growls, grunts, screams, chimings and itsy-bitsy voices pepper innuendo and strange dreamings. Words splatter and shove in a melange of sound. Deus make sense but it is mysterious, tweaked, twisted, moody, edgy sense. "Mmmm," replies Janzoons, "that is true. Well, maybe, the intention of Deus is like "My Sister=My Clock". I will explain the idea of that 'err, album and you will see what I mean. The idea was make to it as a b-side. We released 'Hotel Lounge' at that time and the idea was to make two or three very small songs or tunes or whatever that were just personal pieces of music from different band members, and put it out as a single. "But because everybody did so much and it ended up so long we couldn't use it as a b-side so we were stuck with almost 30 minutes of music, so we released it as a small album. "I didn't know you even got to see it. It hasn't been released in a lot of countries. We were going to try selling after gigs actually. But the record company, wasn't too keen on releasing it because they thought it was commercial suicide. So they only released it in England and Denmark by mail order. It is good you know about it, not a lot of people do. "But my point is that on that you can hear all the different people from dEUS separately and then when the band is together it all gets mixed together. So the intention is like the record. It is, err, many parts and then it also a whole. That's a good thing."

It's also distinctly European and the natural extension of the early work in the '70s of Ashra Temple, Can, Popol Vuh, Gong, PFM fused with the afore-mentioned British and American avant-pioneers. The end result is Deus sound like, umm, Deus. Slot "In A Bar, Under The Sea" in the tray and flip through the beserkly rhymed rock rap of "Fell Off the Floor, Man", smack into the utterly mesmerising ocean ebb and flow of "Disappointed In The Sun", then drive hard on the addictive build of For The Roses, before skipping into it's supreme single "Theme From Turnpike", all Italo-Western and jagged funkiness or the hysterical Offspring pastiche of "Memory Of A Festival". "We had some fun there," Janzoons, rumbles. "but I too like 'Theme From Turnpike', it is a good song. The idea was to make a theme for a film that doesn't exist and make the video for it as an opening credit." In the video a moustached older guy, dignified, classy but slightly sleazy, walks through a crowded city with a tall, beanpole of a punk. As the music builds so does the danger and the potential for confrontation. Aaah, look, just watch it. "The older man is Seymour Cassells; he played in John Cassavetes' films. The other is an unknown Belgian dancer. He's really good. I think we, err what is the word, achieved, our idea. It is Deus to have such notions. "When we write, we don't have any set way. It is always different. For instance, sometimes somebody comes along with a song and we take half, or change it completely, or not change anything. Other times, we jam during a rehearsal and a song comes out of the jam. Perhaps, I might write some music or a song and take it in and then everybody will work on it. It is always different. that is why there are so many Deus sounds. That is also good." It comes as some sort of mild surprise then that Janzoons is currently listening to "a lot of ABBA", having just brought a double album by the Swedish wunderkind. Then, again, it isn't because Deus music is rooted - no matter how bent - in a ridiculously provocative sense of melody. "It is important, yes, " Janzoons says, "but we do not like the sense of restricting what should accompany it. Noise can be melodic too. It is like my musical tastes. I've got a bunch of CDs which I put on in order of mood. When I'm really tired I'd rather put on some classical music or Jacques Brel or Django Reinhardt or Astor Piazzolla. When I'm in a really rock'n'roll mood I put on the Dead Kennedys or GBH. It just depends. "I think it's normal and healthy to have wide tastes. It is the same with our music. I can't understand that some bands always force themselves to play the same music. It's kind of weird they want to make 12 tracks all the same. I don't get it. They must get bored sometimes, like sometimes when they feel really sad or something they can't feel like playing hard or the same. Aaah, whatever, that's their problem." At this point the language barrier gets kind of messy as he rather excitedly talks about how "tumultuous" the album sessions were as one of their vocalists (they have three and have been known to use another three guests on top of that) and songwriters Stef Carlens picked that time to quit. This "tumultuous" was good, perhaps, for the band, and made the record what it is - perhaps. Things are, apparently, still "tumultuous". "That is dEUS also," Janzoons purrs. Rather like the epic "Gimme Heat" from "In A Bar". "Aah, yes, that song has many moods too," he purrs. "We are people, so we are moody." Simple, really.