Deviate Damaen – Nel Limbo D’un Codice A Barre (2019)

‘Opera is what the Artist has created of his own; lining is what the publishing industry decides or not to be yours. And so, if a work, even if august, is not covered with the right lining, it will remain in the limbo of a narrow existence.’

In the opera brevis “Nel Limbo D’un Codice A Barre” the Italian band Deviate Damaen presents in a single act, the modern civilization that is based on choices made by others, on choices made by a system that, while not belonging to us, tries to dictate the rules.
The system is obviously that of publishing; that according to which a work exists not thanks to the artist who created it, but by concession of merchants who do their best to sell it.

Analyzing the context, we can only agree with the band, in which the artist is subject to the rules and understandings of those who in theory should protect artists under their wing, and that’s where they come on scene.

On the other hand Deviate Damaen certainly won’t let itself be influenced or even silenced, on the contrary, it’s just when these paradoxical situations materialize, that the Roman musicians come to life again in an exhilarating tale against the system that all comes together in a miserable bar code.

Who are Deviate Damaen? For many an outrageous band. For someone else, it’s a group of musicians who have no problem denouncing in music the wrongs of the musical world that revolves around musicians and exposing their ideas in a direct way.

Their biography is obligatory.
Already Deviate Ladies from ’92 to ’98, record their first album entitled Religious as our methods in 1997 with Metalhorse Productions, the first Italian album to be released encoded in Dolby Surround. The first album was quickly passed to the press for the “bizarrìa” to start with a real confession recorded in a Roman church and happened between a real and unsuspecting priest and an actor member of the band, equipped with a radio microphone and reciting a script written by the author, with the relationship between “incest” and “sacrilege”.

After the stormy debut, the second Propedeutika Ad Contritionem (Vestram!), will confirm the theatrical nature of the band, philosophically extreme and ideologically uncompromising of the group, in the meantime changing formation, except for their leader G\Ab VOLGAR SVENYM of XACRESTANI, which ends punctually on the pages of specialized magazines and no more for ideological issues and image than for the original music proposed.

He appears on the albums of Aborym and Stormlord, bands with which the exchange of ideas and musicians is continuous. Deviate Damaen participate in a well-known compilation dedicated to the science fiction field proposed by the Genoese Black Widow, (to the merit of which will contribute names like Candlemass and Paul Chain) with a single entitled “Unisex Borg”.

Independent and self-produced releases follow, and the online publication of the anthology Immorality’s Ovra Colostrum (containing the remastered and remixed reissues of the first self-productions on tape from 1992 to 1994), followed by “Dvra Crvx Cenacvli dX”, the album RELIGIOUS AS OUR METHODS, on the occasion of the tenth anniversary of its coming to light, with unpublished and an IX track recorded by the new line-up, entitled “NO MORE” and composed by the new eclectic guitarist of the band A.B. The song comes out in the publication of RELIGIOUS AS OUR METHODS.  DEVIATE DAMAEN incoherent their destiny with that of ARK (already with Mystical Fullmoon, Labyrinthus Noctis, Exm93, and Incoherence), multifaceted, multi-instrumentalist, fomented in adolescence for the band of Svenym Volgar, and which the latter does not delay to fall in love in turn, enlisting him in the drafting of the new single in preparation for early 2009, inspired by the masterpiece of Norbert Schulze, “Lilì Marlen”…where the new formation intends to give its best. Subsequently, following the celebration of the twentieth anniversary of the band.

Back to “Nel Limbo D’un Codice A Barre”, I have a code, so I exist. I’m not in the database of a computer, so I don’t exist. If Mozart were to live in this grim age, among the jackals and sharks that live behind the musicians’ backs, he would have a sad code by which to be recognized no matter what music you play, it doesn’t matter how important the name of a band is, if you don’t have a contradictory number you’re nobody, or rather missing in limbo.
Between truth and mockery, between denunciation and ridicularization, Deviate have had the courage to express what many bands think but do not say, to them an applause for sincerity and for the general vision of the musical world that starting from the artist, the true author and creator, sees to cross their work towards an endless chain of distribution.

Review by Valeria Campagnale.

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