#Trevor Dunn Bass player
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tworacoonsinabunnysuit · 1 month ago
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I came across this picture and I fucking kid you not… This guy gotta be kidding me! The stance, the hat, the fucking veins and muscles in his forearms!!!
And I’m gonna stop myself from commenting right there, but rest assured I had more to say!
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thoughtswordsaction · 1 year ago
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King Buzzo (Melvins) & Trevor Dunn (Mr. Bungle) Announce U.S. Summer Tour
King Buzzo, the iconic founder and lead vocalist/guitar player for the Melvins, and Mr. Bungle bass player Trevor Dunn, join forces this Summer, teaming up for the “King Dunn Tour,” which kicks off on Aug. 1 at Pappy + Harriet’s in Pioneertown, Calif. “I’ve been waiting a LONG time to do an acoustic tour with Trevor,” Buzz Osborne shares. “He’s a fantastic player, and has the ability to make his…
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petite-dweeb · 7 years ago
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The adventure starts here
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dustedmagazine · 2 years ago
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Nate Wooley — Ancient Songs of Burlap Heroes (Pyroclastic)
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Photo by Julia Dratel
Ancient Songs of Burlap Heroes by Nate Wooley
The second album by Nate Wooley’s Columbia Icefield band adopts an almost Tom Petty-like stance vis-a-vis hard luck. His liner note reads, “This album is dedicated to those who recognize living as a heroic act: the occupiers of sunup barstools; the cubicle-planted; the ghosts of Greyhounds; the reasonably sketchy. A Burlap hero is one who marches—consciously or not— back to the sea in hopes of making no splash, who understands and embraces the imperfection of being, and in that way, stretches the definition of sainthood to fit.”
The music’s sound can easily resonate with suffering. Each ensemble performance plays out at length, with two or three players moving at a pace that would make it easy for the titular glacier to keep up while one or two generates stress from within. The core band contains musicians — guitarist Mary Halvorson, pedal steel guitarist Susan Alcorn, drummer Ryan Sawyer — who are equally adept at inhabiting and subverting stasis, and guest Mat Maneri and Trevor Dunn thicken the atmosphere with further murky layers of (respectively) viola and electric bass. Framing them are much shorter pieces constructed from icefield recordings and amplified trumpet exhalations so cold that they’ll turn blood to slushy ice. 
When he takes the lead, Wooley’s horn comes wreathed in reverb, floating gradually decaying melodies that hover like Miles Davis blowing cold and lonely from that ski-lift overhead.  Taken in combination with the CD’s frosty artwork, this could almost be The Great Lost Miles Davis ECM Record, with production and imagery converging far up the fjord where the snow never melts. In the past, when Wooley has taken on an historic monolith, he’s talked about it. This time, there’s no direct commentary, but a sympathetic vibration emerges. The ECM look and sound was nothing if not romantic, and Petty sang about losers in order to celebrate them. There’s a moment partway through Ancient Songs of Burlap Heroes where the action bogs down in a puddle of melting water, and then rouses itself for another round of baleful, slow-motion melody; you can almost imagine the musicians taking turns putting down their instruments and coming over to pull a coat around the trudging hero’s shoulder. 
Bill Meyer
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papeldetornasolcosmico · 4 years ago
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MR. BUNGLE : The Raging Wrath Of The Easter Bunny Demo Trevor Dunn Interview - translated from french by Luis Misiara.
 Q: So, the idea of rerecording the demo came from you...
A: Yes, the idea is entirely mine. This horrible idea! (laughter)
 Q: For how long have you been thinking of this?
A: Oh, yeah, after a I met Dave Lombardo when he joined Fantomas. Honestly, it's like these songs were written with him in mind. We were listening to Slayer and this kind of music all the time back then. Re-recording it with him made a lot of sense to me.
 Q: So, you then asked Mike Patton and Trey Spruance if they agreed?
A: Yeah, and they did!
 Q: And then Dave.
A: That's right. Then we figured that a second guitarist would be a good idea. We had many guitarists in mind, but Mike and Dave both knew Scott. And it's crazy, because when we asked him if he was interesting, he didn't understand what we wanted, he thought we were inviting him to a Mr. Bungle concert! (Laughs) "No, we're asking you if you want to be part of the band!" And then we found out he's a total fan, which surprised me! He was ready to do it for free and he knew the songs in our first demo, I mean... He's an incredible rhythm guitarist, incredibly precise. Anyway, he's one of the original musicians of the genre, part of an elite of "thrash professors" like Dave. This is why we wanted them. His way of playing rhythm parts is different compared to Trey's, and on the album you hear one of them on the left and the other on the right, with little differences in terms of rhythm and tone, and these differences provide a lot to the album in my opinion.
 Q: Did Dave know the demo as well?
A: No, I don't think so, but he was into the idea as well. We spoke for a while, and then one day he called Trey and asked him to redo the demos of the songs and to send him so he could learn them and surprise Mike and me.
 Q: The album is truly excellent. I had only listened to the demo, which was only available in mp3 and with a sound quality that was far from ideal in order to assimilate this kind of music... But I re-listened to it after becoming familiar with the songs in their re-recorded versions, and I must say that everything was already there: great riffs, structures, you didn't change a lot in that sense. I was impressed that, for 16 year-olds, you could write thrashcore songs, some lasting up to 8 minutes, that didn't seem like a pile of riffs, not anybody can do that...
A: (Laughs) Thanks! I don't know what to say to that, or how to explain it... I always liked these songs and, over the years, I felt like bringing justice to them, playing and recording them as they deserved to be. At the time, we were a bit crazy, we really dived deep into the 80s metal wave, we absorbed every riff of every group we listened to, we studied this music, we analyzed the details and we tried to do something that would belong to us, something personal. But Trhash is just an example, you can do that with any kind of music. Even orchestral music, for instance, you just need to learn it, master it. You just need to want to and to have a desire of seizing a musical genre and then do anything you want. Also, if I wanted to write 80s thrash metal right now, it would be totally different, because these songs were written with the information and tools that were available to us at the time.
 Q: Exactly: you lived in Eureka, a small Californian town. Was it easy for you to acquire all the thrash, crossover or hardcore records you wanted?
A: Not really, but there were two good record stores, and actually Mike amnaged to work in the bigger one. We read many magazines like Kerrang and fanzines like Maximum Rock and Roll and were abreast of all the new releases. If any album wasn't sent to the store automatically, Mike would order them. We were the first to do it! He would bring the records to my house, we would open them, tape them, bring them back to the magazine and wrap them back. (Laughs) That played a large role on the construction of our musical culture.
 Q: Before Mr. Bungle, you only ever played with Gemini, right?
A: Right after I started playing bass, the next month, I joined two groups, one of them being Gemini. There were five members -- two guitar players, a drummer, a singer and me. Since the singer left right around the time I met Mike, I invited him to replace the guy. I didn't even know if he could sing or not, all I knew is that he loved music (Laughs). That was enough for me!
 Q: Was it just a covers group?
A: No, I had started writing songs, but mostly rock. At the time, hardcore and thrash music hadn't arrived at Eureka yet. It was a bit like AC/DC, or even a mix between ZZ-Top and Rush!
 Q: On Youtube, one can find videos of you playing covers of Judas Priest, Kiss, Iron Maiden...
A: There you go. That was recorded a bit later, with Mike singing.
 Q: How was life in Eureka at the time? When Dave asked him to record demos for the songs so he could learn them, Trey was right there, and he said playing these riffs 33 years later, "in the same goddamn town, in the same goddamn house" had an interesting effect on him!
A: (Laughs) I wouldn't say it's a goddamned town, but it's truly a special place, and it always was. Unfortunately, it's a very poor city, very labor-based, living out of forestry and fishing, two sectors that have seen better days. Now, there are many homeless people there, and intense meth dealing activity... Eureka laways had many strange characters because it's quite isolated, and it would welcome people running away from big cities or from their own past. But it's also great, the nature is wonderful, the landscapes, the forests. My mother still lives there, and as such I'm often going back there, and the same applies to Trey, which is why he was there recently, recording new demos to send out to Dave.
 Q: Were there many bands at the time?
A: There was always a music scene, especially a punk scene, before we started out, and also a jazz scene, but these scenes were very small and comprised very few musicians. When we started out, there wasn't any metal or thrash band, that was a new genre for Eureka. The "metal scene" was solely made up of people we went to school with, perhaps one or two college students, but what I mean is that verybody knew each other.
 Q: When did you meet Trey?
A: At high school, one or two years after I met Mike. I met Trey in my music theory class. We had many tastes in common, we were hungry for different musical genres and we wanted to study music. We then started rehearsing together with a drummer with whom Trey played.
 Q: Mr. Bungle is a perfect name for the kind of music you started playing later on, but quite unusual for the thrash/thrashcore band you were at the start. [That name has] nothing to do with Corrosion of Conformity, Nuclear Assault, Anthrax or Slayer...
A: (Laughs) That's for sure... Once again, it was my idea... I was completely obsessed by Pee-Wee Herman and his show at HBO at the time, it was well before Pee-Wee's Playhouse, his show for children. I was mad about that show, I would record the audio of it and listen to it repeatedly. I'm sure that, if I watched it know, I would know the scripts by heart. During the show, he would play old educational shorts with Mr. Bungle teaching good manners and hygiene to children. To use the name Mr. Bungle while playing trhash was a way to show that we didn't belong to any scene, to any one genre. It was an absolutely non-metal name.
 Q: The title of the demo also, as well as the song titles, displays a very "non-metal" humor.
A: There you go, precisely. At first, we wanted to call ourselves "Summer Breeze", like the Seals & Crofts song, which we ended up playing live. There was no way we would choose a "metal" name. Why should we? Music speaks for itself. I think more bands should think like that and do away with clichés.
 Q: I guess you didn't play the songs in Raging Wrath (...) live very often back then?
A: No, for the first couple of years we didn't play many shows, we played a few on occasion. There weren't many places for us to play at, and they were very tiny. Nobody would book us, we had to organize our own concerts. But after we released our first two albums, when Mr. Bungle became a touring band, we played one or two of these songs. Nobody knew them, but we always thought they were good, so...
 Q: What happened between your first demo and Bowel of Chiley (1987), the second one? Within a year, you evolved in such a way that it doesn't even seem like the same group...
A: Yes, we always evolved, even when the first demo was recorded, we were always trying to evolve. Mike Trey and I always listened to all kinds of music, classical, pop, jazz, and even in the first demo there are a couple of non-metal tracks. We always sought new ways to express ourselves. "Going forward and never repeating ourselves" was always our motto. Whenever we did something, we would move to the next right after. Therefore, ok, we recorded our 80s thrash album, there's no way we'll make another. If we ever release another album, I couldn't even tell you how it would sound like, I don't know. All I can say is that it would be different.
 Q: In fact, the second part of "Hypocrites" and "Evil Satan", in spite of its extremely metal title, are not thrash, but rather ska in the case of the former and funk rock in the latter. You didn't re-record these tracks. They announced your more "fusionining" demos...
A: Yes, "Evil Satan" didn't fit with the rest. We had a couple of ideas on how to transform it, but in the end we didn't keep it. It's always like that with us: at each recording session for one of our albums, there are songs that seem to be a bit "out of character" with the rest and we do away with them. We either put them to the side to be used later on, or abandon them for good. Also, this song was always a bit of a joke. For us, it didn't fit the album.
 Q: You guys have a stash of unreleased Mr. Bungle songs...
A: Yes. For instance, in our third demo released in 1989, OU818, you've got "Mr. Nice Guy", which was never properly released in an album. I think there's also two songs from the California sessions. They didn't survive past the mixing stage, we knew they wouldn't be part of the album and didn't want to waste the time or energy working on them anymore. It's possible that we may one day decide to finish them and release them... I don't know, we've never discussed this. But yes, there are a few unreleased Mr. Bungle songs.
 Q: Talking about songs that were unreleased until now: when were "Eracist", "Glutton for Punishment" and "Methematics" made?
A: "Methematics" was written in the 80s, at the time we made the first demo, as well as "Glutton for Punishment". "Eracist", on the other hand, had never been finished, it was in the "pile of riffs" stage. The riffs are from that time, but the arrangements are recent. We never played those songs live at the time and they were only ever recorded in Cassette tapes. But we thought they matched the album perfectly, unlike "Evil Satan" or the second half of "Hypocrites", which we didn't re-record, since they were more like jokes or parodies.
 Q: One of the riffs in "Methematics" was later used in "Love is a Fist", one of your classic songs present in OU818 and in the first album.
A: Yes, that's true! That's also typical of our way of working. If a riff in a song that was left off an album pleases us, we recycle it, that's what happened in this case. But I didn't even remember it anymore, it was when we decided to re-record this song that I realized, re-listening to it, "oh yeah, the fucking riff is from there!"... But we decided to leave it in, since the song was built around that riff. Furthermore, honestly, the two riffs aren't exactly the same, there's a different note!
 Q: (Laughs)
A: We changed the ending of the riff in "Love is a Fist", I don't know why, but this time we have the original riff. Thus, it's not EXACTLY the same riff. (Laughs)
 Q: I suppose that the song being titled "Methematics" refers to what you told me just now about the meth being sold in Eureka...
A: Yes. Originally, the song was entitled "Mathematics". I mean, that was just a working title, I never thought the final title would be that. I wrote this song, but I never had any idea for a vocal line and barely wrote any words for it. I asked Mike to do it. Mike, Trey and I then started to talk about what this song should be about. We then realized it would be a good idea to include some Eureka "folklore". In fact, the lyrics are full of references nobody could understand, mentioning people that attended high school with us, our teachers, things that happened to us at the time. For instance, there's this verse: "stab a dog, climb a tree, just to pass geometry". It's a reference to a guy that stabbed a dog and then hid it in a tree to escape the police -- and he was then arrested, of course. This is the type of news story that made an impact on us. There wasn't meth in Eureka when we were in high school, but it's sort of an acerbic homage. (Laughs). I did write the lyrics for "Glutton for Punishment" at the time, however.
 Q: So the lyrics in "Methematics" are recent, but did you change the lyrics in the other songs, the ones originally present in the demo?
A: No, we left them as they were. Not entirely, in fact, because we couldn't remember some of the parts. Even when re-listening to the original demo, Mike couldn't understand what he was singing at certain points, so some words and sentences were changed.
 Q: Along with the unreleased tracks, you recorded a few covers, notably "(Fuck the) USA", by The Exploited, which isn't in the album, but that was released on the Internet. Your version is entitled "USA" only, was that an attempt to avoid censorship in social media?
A: No, no, the official songtitle is "USA".
 Q: In the Exploited albums where it's released, it's either titled "(Fuck the) USA", "Fuck the USA" or "USA".
A: Yes, and I think the original title is "USA". In any case, that's how we always called it. Also, it's certainly easier to have it circulate in social media with that title.
 Q: Among all the covers you played in the concerts, how did you chose the ones you wanted to record?
A: We recorded absolutely all of the songs we played live, so we had around twenty minutes of covers. I still don't know what we will do with the other ones.
 Q: Ah, OK. So, among them, how did you choose the ones that ended up in the final album? Namely, S.O.D.'s Speak English or Die and Corrosion of Conformity's Loss For Words.
A: I don't even know... surely we thought that those were the ones that would fit the best with the others. I think most albums right now are too long, and that's also the [incomplete]
 Q: Also, why did you split up?
A: We never split up, we're about to release a new album!
 Q: Yes, it's true, you never officially split up, but you didn't do anything together for twenty years...
A: We just took a break. A 20-year break! (Laughs). I challenge you to find a note in which we announced that we split up as a group...
 Q: I spent an afternoon in Paris with Mike Patton last summer...
A: Oh, poor guy... (Laughs)
 Q: (Laughs) You wouldn't believe it if I told you. We spoke to him in English, but he answered us in Spanish a few times... Also, when he showed up on a Youtube video playing a cover of "Speak English or Die" with the members of S.O.D., I wasn't surprised that he renamed it "Speak Spanish or Die". Your version is also entitled "Habla Español o Muere". Do you know why he's obsessed with Spanish these days?
A: Oh, I don't think he's obsessed with Spanish, but he is still in San Francisco, and many people speak Spanish in California...
 Q: Yes, that's what he told us afterwards. Well, after a while, he posted videos on Youtube, which were shared by the Revolver magazine website, in which he pronounces Spanish words, dressed like a Mexican bandit or something...
A: (Laughs) What I know is that he spent a long time learning Italian, and both languages are a bit similar. I think, in any case, that more Americans, starting with myself, should follow his example and learn at least another language! (Says sentences in Spanish) That's all I can do...
 Q: Did you retitle the song like that because S.O.D. and Billy Milano were considered racist at the time?
A: No, no, no, we don't care what people think! If you took those lyrics at face value, you would think the person writing them was racist, but it's clearly a joke. It's like when you write a poem or a movie script: you can write sentences for a character that is racist, but you want to express something else with it. It doesn't mean the person who wrote the text is racist, the character does not reflect who the writer is. I think people frequently forget that when they listen to music. When a singer takes the role of a narrator, it doesn't mean what is sung is their personal opinion. No, we renamed the song because we love hispanic culture, because many people speak Spanish in the United States, and because of the Trumpism that has grown over there, this "build a wall" attitude. But we could have recorded it with the original lyrics, we don't care.
 Q: Yes, and also "La Cucaracha" establishes the link between "Hypocrites" and "Habla Español o Muere".
A: Yes, "La Cucaracha" is in the demo, I couldn't tell you why, but it's what gave us the idea of replacing the second part of "Hypocrites" with "Habla Español o Muere", the Spanish language is the link.
 Q: When re-recording these songs, did the dive into that time make you want to re-listen to your thrash, thrashcore and hardcore albums you listened to when you were 16-17 years old?
A: Not really. Well, a bit of nostalgia is apparent in my choices when I look into my CD and vinyl collection. But I didn't feel the need to resort to these old records, I just had to re-study these old Mr. Bungle songs and to reconnect with this style of music, because it requires some practice. So we had to record new demos for the songs, so that Dave and Scott could learn them, since it was impossible with the original demo. Reecording these demos, to me, helped me remember the songs and work on them. It's crazy: when I play these riffs again, I can remember what I was thinking when I wrote them 35 years ago... At the time, I listened to all kinds of metal, thrash, punk metal, crossover, but I also listened to Jaco Pastorius, The Police, Charlie Parker, Stravinsky, a bunch of different things. So, when I was in high school, one had to choose where one stood, if you were a punk, if you were a skater who listened to J.F.A. (Jodie Foster Army) and Corrosion of Conformity or if you were a metalhead who listened to Metallica. Listening to these groups and subgenres at the same time was considered weird, it was frowned upon. Mike, Trey and I always thought that was ridiculous, we listened to anything.
 Q: In the 90s, many bands like Anthrax or Corrosion of Conformity evolved to a heavier and more melodic type of music. Did you still listen to them during that time?
A: Not really. After Reign in Blood, which could be the pinnacle of this genre of music, I lost interest. I was in college, I got more into classical music and took a deeper dive into other genres. Thus, I didn't listen to a lot of metal in the 90s. I always listen to Reign in Blood or Animosity and they always sound good to me. But bands evolve, people's tastes evolve, and I didn't follow the careers of these bands that I enjoyed, also due to a certain lack of time.
 Q: Do you listen to current bands that play this type of 80s thrash/thrashcore?
A: Pfff... no, I'm really out of the loop in regards to what's happening in the metal scene. I've heard a few grindcore groups, but mostly those that are more extreme, like Full of Hell, which we invited to open for us in New York. So I don't know a lot of what is done in metal nowadays, but I enjoy a few bands and have been attending their concerts when I can. But so many albums come out, it's crazy, it's impossible to follow... On the other hand, I haven't listened to young bands playing 80s thrash in a long time...
 Q: Let's talk a bit about the shows that you played in February...
A: It was all really cool: playing these songs live, being face to face with an excited crowd, with all these cool bands opening for us (Full of Hell, Ho99o9, Melvins, Hirax, Victims Family, Spotlights, Possessed, Cattle Decapitation, Intestinal Digorge, Cunts, Cleric...).
 ----
 Q: Were your fans surprised that you reunited with this lineup and these songs? Even recently, even though it had been a few months that the reunion was announced, some fans appeared to be blindsided when you released "Raping Your Mind".
A: Oh, yeah! Many people aren't happy, they think this isn't the "true Mr. Bungle". They complain that these songs have nothing new or experimental about them, that it wasn't what they were expecting of us etc. But hey, we always did what we wanted, none of our albums are similar and as long as Trey, Mike and I are in the group, it's Mr. Bungle, period! In any case, other fans are quite pleased!
 Q: In New York, Harley Flanagan joined you on stage to play "Malfunction", originally by the Cro-Mags, with you. This seems to be Mike's idea...
A: Yes, Mike contacted him. We are big fans of the first Cro-Mags album. We had plans to play with other guests, especially Keith Morris from the Circle Jerks, who was going to go on stage with us in Los Angeles, but he couldn't because he got sick.
 Q: Jed Watts, your first drummer, who played on the demo, also went on stage with you...
A: Yes, he came to play "Anarchy Up Your Anus" during one of our concerts in San Francisco. We were in contact with him and told him about our project to re-record these songs. He told us he was a bit jeaous, but he was also happy for us. That was a happy reunion.
 Q: Does he still play music?
A: Yes, he didn't become a professional musician like us, but he still plays with a band in Eureka.
 Q: Well, how does the future look like for Mr. Bungle right now?
A: Eugh... surviving until 2021. Not catching this virus. We wanted to play other concerts with this line-up before all this madness. And I think we will do it sometime. But for now, the future is really vague, not only concerning Mr. Bungle, since all of our activities are suspended.
 Q: I suppose you were invited by European festivals?
A: We received a bunch of offers from festivals around the world, it's incredible! But I don't know what's going to happen, maybe there will be no concerts ever again... (Laughs)
 Q: If I understand what you told me just now, you don't think about trying to write new music with this line-up.
A: No, we said all we wanted to say with this line-up, it's over. Barring the possibility of new concerts, because it would be cool to be able to play more shows. Also to release the other covers that we recorded. But I don't see any interest in recording another album in this genre. When we start a project, we go deep, we put all of our energy into making it perfect. Afterwards, we never recover that same energy to do the same thing over again. Some groups, perhaps most of them, do that: record an album, tour, record a similar album etc. I don't know why, but I think of Radiohead. I'm a big fan of OK Computer, I've listened to that album a million times. Their next albums are really good, the band evolved, for sure, but they developed a specific sound. I would like to evolve like that with Mr. Bungle, but I don't know if we're capable of that, I don't think so... In any case, concerning 80s thrash, we've said what we wanted to say. But we are children of 80s thrash, so this music always runs in our blood -- it'll come out whatever we do, whether in a riff, in an attitude, or in something else...
 Q: Could you write and record a metal album, but not really 80s-based, something more modern?
A: Yes, we could record an album in the style of, uh... uh... fill in the blank! (Laughs)
 Q: You could reunite with another Mr. Bungle line-up and do something else...
A: There are no plans for that.
 Q: Are you still in touch with Danny Heifetz, Clinton McKinnon or Theo Lengyel?
A: Not with Theo, but with Danny and Clinton, yes. I talk to them from time to time, but both live in Australia. We of course updated them on what we were about to do, since we wanted to be really transparent with them. We presented the project to them: "There you go, we re-recorded the first demo with Dave and Scott, we're going to play concerts using the name Mr. Bungle, and if you don't like it... fuck you!" (Laughs) No, they totally got it. I would love to play with those guys again. We'll see...
 Q: Out of the three Mr. Bungle albums, which one is your favorite? I feel people often choose the first one or California, Disco Volante less often, sadly, especially all the bad bands that copy you...
A: (Laughs) I'd say California, because in terms of studio work, it's truly our pinnacle. But honestly, I don't listen to them, they are too loaded with memories, I can't listen to my own albums, no matter what they are. I can't prevent myself from revisiting the situation, the studio sessions, our arguments about this or that song, and also i think about production choices that weren't kept, etc. It's too loaded with memories that infect my listening.
 Q: Did you use your confinement to write and start new projects?
A: Yes, I wrote for my next Trio Convulsant album. I hope I have enough material for an album at the end of the year, and then record it as soon as possible.
 Q: Is the new Tomahawk album finished?
A: Yes! Duane, John and I recorded our parts three years ago in Nashville. We then waited for Patton to finish his vocal parts, and I think he did so recently. I can't even remember what the album sounds like! (Laughs)
 Q: You can't even tell me if it's different or not?
A: No, I don't remember at all... I'm exaggerating, I think it sounds like the one I played on before, Oddfellows. Tomahawk is Duane's baby, he writes it all, he even gives Mike ideas for lyrics. I'd say the album sounds a bit like the last one, but I didn't listen to it finished...
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jamieroxx · 5 years ago
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Happy Birthday. Today, Jan 30, 1968 – Trevor Dunn, American bass player and songwriter (Mr. Bungle, Trevor Dunn's Trio-Convulsant and Tomahawk) was born. (https://en.wikipedia.org/wiki/Trevor_Dunn)
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thejazzspot · 6 years ago
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Dan Weiss - Starebaby (Pi Recordings PI74, US 2018)
Dan Weiss is surely one of the most gifted drummers around today and thus to take into account in this space. With differentiated projects, as a sideman or as a leader, he has worked with, among others, Chris Potter, Rudresh Mahanthappa, Ashish Khan, Ramesh Misra, Rez Abbasi, Jen Shyu and John Zorn, and participated in several dozens of recordings. Since his first album, Fourteen (that made the top ten list of The New York Times best recordings of 2014) much has taken place that inevitably raised the bar for coming works. Weiss’s 2018 album, Starebaby, is the realization of a long-held dream of sonic explorations and inspirational music. But despite the fusion of elements (some say: Free Jazz, Doom Metal, New Eletronic music...) what helps making this project unique is, above all, the players and their chemistry. In fact, for this journey, Weiss brought together some of today’s most versatile musicians: -Ben Monder (guitar), that has worked with Lee Konitz, Dave Liebman, Kenny Wheeler, Maria Schneider, drummer Jim Black (among many others) and participated in "Blackstar", David Bowie's final studio album; -Craig Taborn (piano, Fender Rhodes), the acclaimed pianist/composer that played with musicians such as Bill Frisell, Christian McBride or Ches Smith; -Matt Mitchell (piano, synthesizers), that has recorded with Tim Berne, Rudresh Mahanthappa and Dave Douglas; and -Trevor Dunn (electric bass), a former member of bands like Mr. Bungle (with Faith No More singer Mike Patton) Fantômas (also with Patton), Melvins or Secret Chiefs 3. On Starebaby, you hear the rhythm flowing within a considerable palette and a progression that varies from a rough energy to more contemplative moments. Overall, Dan Weiss seems to transcend music genres and styles. This drummer-composer of nimble technique and exquisite imagination puts together dynamics that confer this creation an intensely unique sense. Is Starebaby even a jazz album? Certainly not. But who cares? Mister W Total or partial reproduction of the contents of this site is strictly prohibited. It can only occur with prior permission of the author. To that end, please contact wjazzspot@gmail.com
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ghostcultmagazine · 5 years ago
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King Buzzo Shares New Single - “Delayed Clarity", New Album Due Out Next Month
King Buzzo Shares New Single – “Delayed Clarity”, New Album Due Out Next Month
Iconic Melvins leader King Buzzo has shared his new single from his upcoming solo album,  Gift of Sacrifice due out August 14th, via Ipecac Recordings. The nine-song album finds Buzz Osborne joined by longtime friend and Mr. Bungle bass player Trevor Dunn, and is his first solo album since 2014s This Machine Kills Artists (also Ipecac). Stream to “Delayed Clarity’ right now! 
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King Buzzo w/Trevor Dunn - Gift Of Sacrifice
King Buzzo w/Trevor Dunn – Gift Of Sacrifice
King Buzzo, the iconic Melvins’ singer and guitar player, returns with his second solo album, Gift of Sacrifice, on May 15 via Ipecac Recordings. The nine-song release finds Buzz Osborne joined by longtime friend and Mr. Bungle bass player Trevor Dunn.
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Gift of Sacrifice track list:
Mental Vomit
Housing, Luxury, Energy
I’m Glad I Could Help
Delayed Clarity
Junkie Jesus
Science in Modern America
B…
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tworacoonsinabunnysuit · 14 days ago
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It’s baby’s Birthday Today!
Happy Trevor Dunn’s Day to all of those who celebrate!
Ways you can celebrate:
* Listen to a Jazz band that sounds like they threw the drummer down a flight of stairs
* Complain about the fact that he does not smile near enough in pictures
* Listen to Left with nothing, because he could absolutely had sang that whole album, but he decided to give us just this song (YAS, Queen! Give us nothing one song)
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snuggly-cuddlebug · 8 years ago
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🎤The Real Thing🎤 A strange thing happened when Faith No More took their new singer into the studio: like Mosley, he opted for a nasal delivery with his vocals that thankfully disappeared from any further Faith No More recordings as he found his way. Patton was five years younger than Bass player and band leader Billy Gould.: “He was a fucking brat, an arrogant little baby who’d never sipped alcohol before, never been to a bar, and we were all these crusty fucking older guys,” The lyrics on The Real Thing were written by Patton in only two weeks “I wrote them like they were one of my creative writing university assignments” Patton said. He accidentally cut four tendons in his hand while shooting the from out of nowhere video, and while it now works, full feeling in it never returned. Faith No More had been touring the world for a year when Epic blew up in the US. Just as they were winding down, they discovered that they had to start all over again. With its rapped verses, and from the suggestion of Friend and Mr Bungle bassist Trevor Dunn, Patton said he was attempting to simulate the same vibe as Blondie’s Rapture, though the lyrics are about simulating something else. “It’s a song about jerking off,” Patton claimed.”although people think it's about sex” The frontman soon became disturbed by the attention his good looks brought him, and he recoiled in disgust at the advances of female fans. “All these kids screaming at me and wanting to sleep with me – it’s got nothing to do with sex, it’s vampirism, I'm their transfusion,” he said. “When you walk down the street and people yell at you and try to grab your hair, it’s not natural.I hate it”
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thoughtswordsaction · 7 months ago
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King Buzzo (Melvins) & Trevor Dunn (Mr. Bungle) Release "Eat The Spray" Video
Photo by Mackie Osborne King Buzzo, the iconic founder and lead vocalist/guitar player for the Melvins, and Mr. Bungle bass player Trevor Dunn, who previously announced their joint King Dunn Tour, have shared a video for “Eat The Spray”. “I love this video! Probably the best video I’ve ever been involved with,” Buzz Osborne says of the clip created by Berlin-based, Seattle-born video…
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petite-dweeb · 7 years ago
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jdrespling · 5 years ago
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King Buzzo's New Album, Gift of Sacrifice, Arrives on May 15; Tour Announced including Pittsburgh
King Buzzo’s New Album, Gift of Sacrifice, Arrives on May 15; Tour Announced including Pittsburgh
Photo credit: Mackie Osborne
King Buzzo, the iconic Melvins’ singer and guitar player, returns with his second solo album, Gift of Sacrifice, on May 15 via Ipecac Recordings. The nine-song release finds Buzz Osborne joined by longtime friend and Mr. Bungle bass player Trevor Dunn.
The collection’s first single, “Science in Modern America” (http://smarturl.it/kingbuzzo) can be heard now. Album…
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capitalchaostelevision · 5 years ago
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King Buzzo's New Album, Gift of Sacrifice, Arrives on May 15
King Buzzo’s New Album, Gift of Sacrifice, Arrives on May 15
King Buzzo, the iconic Melvins’ singer and guitar player, returns with his second solo album, Gift of Sacrifice, on May 15 via Ipecac Recordings. The nine-song release finds Buzz Osborne joined by longtime friend and Mr. Bungle bass player Trevor Dunn. (more…)
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jamieroxx · 6 years ago
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Happy Birthday. Today, Jan 30, 1968 – Trevor Dunn, American bass player and songwriter was born. (https://en.wikipedia.org/wiki/Trevor_Dunn)
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