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Débile Menthol

Also for aficionados of European avant rock and roll from the ’70s and ’80s, certainly a specialized batch of listeners, the Swiss ensemble Débile Menthol could possibly be considered a cult music group. One might believe their rather user-friendly make of avant-gardism could have resulted in a fairly sizable viewers, but alas, that had not been to end up being the case. Even so, many bandmembers persevered through the pursuing decades directly into the 2000s, as well as the music of the performers — while staying known and then a relatively little audience world-wide — remains some of the most participating and satisfying mixes of the present day and traditional to become heard anywhere. Developing in Neuchatel, Switzerland, the initial incarnation of Débile Menthol highlighted a nine-person lineup on saxophone, violin, clarinet, electric guitar, bass, keyboards, percussion, drums, and vocals, a relatively unwieldy staff of multi-instrumentalists who performed within a Rock and roll in Opposition-influenced design. Actually, the music group released its initial recording, Emile au Jardin Patrologique (documented in Kirchberg, Switzerland, in Oct 1981) as the 1st vinyl LP from the Zurich-based RecRec Music, associated with the English Recommended Information label founded by Chris Cutler in 1978. While incorporating experimental components educated by such RIO rings as Henry Cow, Univers No, and Artwork Zoyd, Emile au Jardin Patrologique also exposed Débile Menthol to be always a group having a decidedly lighter as well as fun-loving strategy, perhaps comparable to another RIO music group, Sweden’s Samla Mammas Manna. However in truth, one may also listen to the impact of new influx party rings in Débile Menthol’s multi-layered however high-spirited music — think about a mash-up of Henry Cow as well as the B-52’s, as hard as that could be to fathom. It could take 3 years for Débile Menthol to record and launch their second recording, 1984’s Battre Campagne, the 6th disc released by RecRec. Right now, the group have been decreased from a nine-piece to a seven-piece lineup, although two “guests” made an appearance independently on two different monitors. The sound of the record de-emphasized the reeds and only a far more vocal-oriented strategy, including more possibilities for vocals from violinist Marie C. Schwab, sometimes sounding as though influenced with the spacy Gilli Smyth of Gong. A little punkier and much less complicated although still proclaimed by a set of exceptional albeit short instrumental monitors, Battre Campagne was another solid discharge from Débile Menthol and apparently one that may have garnered curiosity among adventurous rock and roll listeners at that time. It will end up being Débile Menthol’s last discharge. However, afterwards in the ’80s guitarist/bassist Jean-Maurice “Momo” Rossel and guitarist Jean-20 Huguenin would sign up for as well as Slovenian accordionist Bratko Bibic (Begnagrad, Accordion Tribe) and, from over the Atlantic, cellist Tom Cora and drummer Pippin Barnett of N.Con.C. downtown supergroup Curlew to create Nimal, among the decade’s most fascinating avant rock-folk-world-jazz-whatever ensembles. And a post-Débile Menthol romantic relationship of much longer duration would type between Huguenin and DM guitarist/clarinetist (and, as exposed in the liner records to his #804 Middle Street Compact disc released in 2007, Sizzling Tuna and Small Feat lover…who knew?) Cédric Vuille, who remain mainstays from the likewise lighthearted and quirky (generally) Outfit Rayé through the entire ’90s and in to the 21th hundred years. Other users of L’Ensemble Rayé — and actually often in main roles — have already been none apart from Momo Rossel (on electric guitar, accordion, bass, and violin, not forgetting mastering and blending) and clarinetist Pierre Kaufmann, among the “guests” on Battre Campagne. Recordings by post-Débile Menthol rings Nimal and L’Ensemble Rayé, aswell as single and ensemble spinoffs by several members of the and related groupings, are really worth discovering, having organized well over time for their stunning ability to combine a true heart of experience with participating characteristics — including tunefulness, melodicism, rhythmic propulsiveness, and instrumental virtuosity — which should charm to almost any music listener lacking any ironclad preconceived plan. And for Débile Menthol themselves, their two LPs had been mixed onto the two-CD arranged Emile ? la Campagne, released by RecRec in 1994. It really is well worth attempting to find, both for the music it includes and because of its documentation of the music group that served like a foundation for a few of the best possible and most available European avant-prog from the last 2 decades.

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