YOUR QUESTION:

09/06/2019 1:12:51 Rich

Have you seen the 2014 documentary on Jaco Pastorius? If so, what did you think of it? And what’s your opinion on The Residents?

MY ANSWER:

I wasn’t too impressed with that doc although it was great to see some old footage uncovered. I think the doc didn’t cover much more than what was in Milkowski’s biography from ‘95. I also hated the end with all this necrophiliac jamming. Why does it always have to go there. Speaking of docs, I recently watched Theory of Obscurity which taught me a lot about the Residents I didn’t know. They were over my head in the ‘90s and probably still are, but I do appreciate anyone who puts that kind of effort into art and alternative perspectives.

YOUR QUESTION:

09/04/2019 19:24:35 Mike

I'm curious as to your opinion on Nomeansno.

MY ANSWER:

I was a big fan in the ‘90s and luckily they used to stop by Arcata, CA on tour so I got to see them live several times. Never disappointed. Solid, heavy and unusual. “Wrong” is still a linchpin for me.

YOUR QUESTION:

09/03/2019 15:49:52 Jason

Years ago there was talk of the next Fantomas project being an all electronic affair. Did it ever get to a point where you were given any new music to learn? I did see below that you addressed the status of that project and I certainly don't want to keep repeating questions...but I saw you guys in LA on the Delirium Cordia tour then in SF on the Suspended Animation tour, those two shows rank in my top ten live music experiences ever. So forgive me, just curious if you think the leader of that project has probably done all they feel like doing with it and we shouldn't get our hopes up? Thank you for taking our questions.

MY ANSWER:

It never did get to that point and for various reasons I have my doubts it ever will. That’s all I can really say as a sideman.

YOUR QUESTION:

09/03/2019 15:25:11 Andrew

What are your thoughts on personality tests such as the four temperaments, Meyers-Briggs, or even the enneagram? Is there one you prefer over the others? No particular reason for asking

MY ANSWER:

I also have no particular reason for answering this question as I know next to zero about it. I do appreciate Carl Jung and really enjoyed his “Memories, Dreams, Reflections”. I suppose we all like to categorize everything and maybe we should. It makes things easier to understand. Are we really all as varied as fingerprints or snowflakes, or do we just like to think we are? Seems like there might be too many variables to be accurate (environmental or conditional, for instance). Nature vs. nurture and such.

YOUR QUESTION:

09/03/2019 14:13:24 Efren

What do you think of the recent performance on Mondo Cane and the live take of Retrovertigo?
Massive fan of your career. Keep bugging King Buzz on instagram.

MY ANSWER:

It’s always strange to hear different arrangements of one’s tunes but, of course, I’m honored it was chosen for the repertoire. I didn’t see much more of the performance.

YOUR QUESTION:

09/03/2019 8:29:51 dogleg

Do you ever feel that any of your work has been misunderstood? What do you think is the most misunderstood project or recording you've ever been a part of?

MY ANSWER:

This is a tricky one. I could easily say everything has been misunderstood as I’m sure it’s true to some degree, but I stopped worrying about that a long time ago. It’s to be expected and there’s no way around it.
Currently I’d say SpermChurch is my most misunderstood project.

YOUR QUESTION:

09/03/2019 5:59:46 Sophia

Mr. Dunn,
Do you like Giallo? If so, what are some of your favorites?
What’s the craziest movie you’ve ever seen or movie that you wish you never saw? For example, I know some people have seen Salò, or the 120 Days of Sodom & they said afterwards they just felt dead inside.
Thank you

MY ANSWER:

I have to admit that’s not a genre I’ve spent much time with and in general I don’t enjoy gratuitous rape scenes or violence for that matter. I much prefer psychological drama/horror to being spoonfed. Feeling dead inside is not a review that would inspire me to see a film. Can’t think of a film I regret seeing for such a reason. I guess I naturally steer clear of that sort of thing.

YOUR QUESTION:

09/02/2019 17:49:50 Matthew Bianchini

Hey Trevor! It's so cool to see you interacting with fans and answering their inquiries, you don't see that a lot today. Anyway, I'm 13 and an aspiring musician. A few months ago I started this band called "Static Cling" which I formed after forming a relationship with some talented musicians that I met through music class (basically the band geeks). But we've had a bit of an issue -- Basically, everybody in the band has a hard time collaborating and does not want to share ideas with each other, making it harder to progress. I've tried to encourage them to be more open as songwriters and musicians, but it hasn't worked. I'm usually just met with a shrug or something lame. I know early on in Mr. Bungle's career the songwriting process was very collaborative, especially the first album. Do you have any advice as to what to do in this situation? Am I doing something wrong or do I just have to let time progress and maybe we'll gradually get more of a comradery going musically? I'm not sure. Anyway, keep being an awesome musician and inspiration to songwriters everywhere !

MY ANSWER:

Collaboration is a tricky thing and even Bungle had discrepancies and arguments; still does actually. I have a tendency to not be a collaborator which is why most of my tunes are written solely by me. It’s not for everyone. The other thing to keep in mind is that —and I like that you used this word yourself— collaborating is very much a relationship and with all relationships there is compromise. It is possible that you are in a non-compatible situation and may have to find others that are like-minded. One way that Bungle used to collaborate back in the day was to just jam together. Sitting in a room screwing around on riffs or melodies or whatever can lead to collective changes whether things are discussed verbally or not. Perhaps try improvising more — bring in a riff that you don’t know what to do with and just jam on it until someone finds the right direction. I would also exercise a lot of patience. Comradery can take time. Do you hang out together? Talk about the same movies, books, food?

YOUR QUESTION:

09/02/2019 13:52:33 Ron Weasley

Your youthful appearance is often commented upon, and I am genuinely curious about how you manage to maintain this and stay fit, especially given how busy you are and how often you are on tour. From your Instagram account it looks like you mostly eat pizza (which I am sure isn't actually the case), and I'd imagine that it would be difficult to fit in a great deal of exercise into your schedule, yet in recent years you look noticeably healthier than when you were younger. How is this possible? Do you like to cook and if so what? In a recent post you mentioned fasting - is this something that you practice for its health and lifespan extending benefits, or do you have a rapidly ageing portrait hidden in your attic?

MY ANSWER:

I try to eat something green every day and when I get off a plane I take the stairs not the escalator.

YOUR QUESTION:

09/22/2019 20:56:39

Hi Trevor! I'm really happy you are taking questions again but a little sad you took down the old ones (or maybe I just can't find them).
This is an advice/wisdom question. I'm an improviser. I've occasionally written tunes which feel like they write themselves and often come out of weird emotions. Now I'm in music school and being asked to write _compositions_. I want to be able to do this, but I find it incredibly hard and painful. At every point it feels like I have to make really hard decisions (what now?) and I come up with things that are probably worse than if I just improvised. I've wasted days writing snippets, hating them and scrapping them.
I like doing harmony and counterpoint exercises and studying classical works. I like improvising things that sound like they have form. I've had fun arranging my tunes before.
You're really good at composing a lot of different things, so I thought maybe you'd have some advice.
Thanks a lot for doing this,
a fan of yours

MY ANSWER:

I did indeed delete all the old Q&As; just felt it was time to start afresh.

Firstly, consider that composition and improvisation are really just the same thing placed over different time spans. It’s entirely possible for you to record yourself improvising and then notate it. You can even iron out the bits that didn’t work or “rewrite” things to go the way you’d wished the improv had gone. Viola! Composition. Perhaps think of improvisation as a conversation whereas a composition is a story that is developed over several drafts. Those weird tunes you’ve written are compositions. It’s possible you are being asked to be more specific with your writing. That’s the blessing/curse of composing, it is both authoritative and ego-centric and depending on your personality those might be difficult traits to handle. Think of it as a psychological challenge. What are your favorite pieces of music and how can you achieve what those pieces achieved? I’m not talking about harmony or form. I’m talking about the spiritual structure; the conviction; the emotional language; the blood behind the music. Try to find that.

YOUR QUESTION:

11/11/2019 7:41:10 Todd

Hi Trevor,
Been a fan since 1992. Was in the crowd at Fastlane's, Atlantic City, when you played a sublime set. It was rather scary. On that occasion, I was able to insult Mike Patton by asking if he took singing lessons after Bowel of Chiley. I meant it as a compliment. Is there anyway I can send you a couple of demos? Maybe you would like to play on these or produce them.
I don't know, but at the very least, I feel compelled to ask you this question. Sure, Patton sings better than all of us, but does that mean we should all commit suicide? At least I am just as handsome as the bastard, lol. Also, I excel at taking "no" for an answer. Rejection is like a multivitamin to me: I take one daily. Hope all is well! Todd

MY ANSWER:

I don’t think the guy ever took a singing lesson in his life, but I’d say going on the road with FNM for several years in a row was probably the best thing for him in terms of developing chops. I’d be happy to listen to your demos but I won’t be handing out my address here so you’ll have to find a way to get them to me. I am also happy to play/produce for a fee and depending on my schedule but more importantly on whether I think the music is appropriate for my inclusion.
Suicide is a severe response to someone else’s talents in my opinion. Technique is something that can be learned by anyone; real value lies in the unique personality behind the technique which you, as everyone else, has. It’s partially a matter of confidence and heart. Rejection is a good thing to be able to withstand but ultimately it should push you forward.

YOUR QUESTION:

11/12/2019 7:43:05 Kieran M

Hi Trevor,
Saw lately that a live recording of Thunderball by Mr. Bungle has ended up on a few compilations, along with some some other compilations made by WB. Hopefully this is something that was approved by the band. No real question, just wanted to make sure you were getting your cheques!
Thunderball can be found on 'Cover Bond (Great Music Artists Performing The Songs From Every James Bond Movie!)'

MY ANSWER:

I don’t know anything about this so thanks for the heads up. Since it’s a cover song we won’t be getting any checks but it is an unauthorized release so I will look into it.

YOUR QUESTION:

11/12/2019 19:38:45 Bill PHey

Trevor. A few questions if you don't mind
1) How annoying would it be during Bungle shows when the crowd was obnoxious? Seems like there were plenty of occasions of people screaming for "Girls Of Porn" or screaming just for the fuck of it in the middle of an instrumental piece
2) Why did you leave SC3 after the first album?
3) Just curious as to what your thoughts are on Sonic Youth........Similar to Bungle, thats a band that always played by their own rules and was great at constructing songs built around abstract compositions and beautiful noise freakouts. I know Thurston plays with Zorn and Winant from time to time as well so he's no stranger to that scene
4) Theres an old bootleg from 1990 where you guys debut 'My Ass Is On Fire' and the song has a totally different structure with different lyrics compared to the album version from a year later. Did that happen often with Bungle, where a song would initially be completed and then radically altered by the time it reaches its final result?
5) Some dude threw up on youtube a soundboard of Bungle from June 1988 in Arcata. Behold all 6 songs from Goddammit I Love America are played. And a full on cover of Guns N Roses 'Welcome To the Jungle'....June 88....Any memories of this gig? This must be like a month or 2 before Mike went off to join FNM and become a rock star
https://www.youtube.com/watch?v=4MrtSJoMp64

MY ANSWER:

1) Any obnoxious crowd is annoying when they seem to feel that they are the performers. It’s usually some ploy for attention from their peers I would imagine. But pretty much every rock band I play in is subjected to a suggested set-list of songs of other bands I play in. You learn to tune it out as much as possible.
2) That’s a misconception. During the making of that first record it wasn’t really a band yet—more like a recording project. I did tour with them in Australia in the late ‘90s and have done occasional one-offs but Trey’s development of that band went it’s own direction other than my own (moving to NYC for example). Essentially I neither joined nor left that band.
3) Not a band I ever really got into although they do have a specific sound I like and I do appreciate the pan-tonalism and alternate tunings. Funny, I just watched the video for Bull In The Heather between Mitch Hedberg and Klaus Nomi videos
4) I wouldn’t say it happened often, but it happened. It was rare that we performed a song before we felt it was complete but that did happen from time to time.
5) Vague memories for sure. Sloppy as hell I would assume.

YOUR QUESTION:

11/13/2019 0:13:59 Jason

Hey Trevor. The Beastie Boys say they regret ever recording "Fight For Your Right To Party" and spent the next 10 years trying to distance themselves from that song and the jock meatheads who would scream for that song every night. Not all that different than what Bungle went through with "Girls of Porn". How long after you recorded that song before you regretted it? Looking at old setlists, it seems like the band playedit only a couple times in 92 and then never again
Also, bring back your Facebook. You used to have some great posts back in the day

MY ANSWER:

I have no regrets about that song although I would consider writing a sequel called “Boys of Erectile Dysfunction”. The truth is, we stopped playing that song for stylistic and aesthetic reasons not because we were trying to distance ourselves from our youth. In my eyes the first Bungle record is a time capsule of frustrated, angst-riddled, small town youth mentality and I have no regrets about where I came from and what I thought about in my young adulthood. By the time we hit the road in ‘92 we were already a bit fatigued by some of that music which is why, for example, we arranged songs like “Squeeze” to an extreme degree. We did that later with “My Ass is On Fire” as well. If we were trying to distance ourselves from anything it was the ‘funk metal’ scene of SF which we were unwillingly lumped into for lack of better marketing.

I won’t be bringing back FB. I find it pointless, time-consuming and socially disturbing.

YOUR QUESTION:

11/13/2019 14:10:23 Isabela

Just curiosity: how tall are you?

MY ANSWER:

An inch shorter than what it says on my driver’s license.

YOUR QUESTION:

11/18/2019 4:44:15 Sophia

Hi Trevor,
Just wanted to know how you’ve been feeling lately and any plans for the rest of the year?
Take care!

MY ANSWER:

I feel fine. Thanks for asking. I have a couple small gigs in Brooklyn coming up but mostly I am happy to be home and not on an airplane for a while. I just got a haircut and had some repairs done to my upright bass. I’m currently listening to WFMU and contemplating going to the gym for the first time in weeks. This week I have to make a demo for a never-before-heard thrash tune I wrote in 1986 for some bandmates, make some notes about my SPCH+DRMS project, practice some bass, and start thinking about my next project to write for. I will also go visit my parents soon. Cheers!

YOUR QUESTION:

11/18/2019 17:36:59 Cooper Loose

I was turned on to Mr. Bungle earlier this year by my cousin's boyfriend and have quickly become a big fan, especially of the self-titled album. more recently, I've looked past the lyrics and paid more attention to the instrumentation. I was wondering, do you have any method/practice tips for novice bassists (can play a bass but don't own one, played guitar for 8 years)?

MY ANSWER:

There are endless fundamentals you can learn (and I would certainly consider taking lessons with someone) but any beginning books (Mel Bay, Carol Kaye, etc) will supply you with methods and tips. I’m a bit unfamiliar with what is out there these days in that realm (my references go back to the early ‘80s) but I’m sure there are tons. I’d shy away from TAB notation— I think it is limiting. In addition I would learn your favorite bass lines by ear. That is an invaluable exercise.

YOUR QUESTION:

11/19/2019 6:48:15 Juvenal Magallanes

can't decide if I want to learn to play piano or guitar. What instrument do you recommend ? Marc Ribot and Frank Zappa are my favorite guitarists. I would like to play metal/rock, blues, instrumental music. I don't like singing myself. A couple ideas doing an album with electric guitar and trumpet, maybe even pairing electric guitar with chamber music.

MY ANSWER:

It sounds like you want to play guitar. That said, I would learn both. Piano is a valuable instrument to have at least a marginal knowledge of it’s layout. I am by no means a piano player but I took a couple years of private instruction just for the purpose of composing; being able to get around a wide pitch range and see how other instruments fit together. Even learning a simple piece and being able to read both treble and bass clefs can give you a better understanding of counterpoint. No reason to limit yourself to one instrument.

YOUR QUESTION:

09/26/2019 3:22:49 Jeff

Hey Trevor. I've been a huge fan of your work going all the way back to the early Bungle days. As a self-taught bass player myself and someone who has always been drawn to the bass in all genres of music, I'm curious to know if you are ever bitter or have some resentment (maybe a little at times?) about not being recognized in the bassist world enough? We always hear about the obvious "Gods" of the bass world like Geddy, Les, Pino, Chris Squire, Steve Harris, Jaco, Victor, James Jamerson, Stanley Clarke, and dare I say, Flea, along with some many others. However, it frustrates me that you NEVER seem to be included in those lists of top bass players, even on a list of top 100! How is that possible? It's seems a big injustice to you and your body of work and how you continue working tirelessly to this day. Or do you prefer to stay more under the radar and do not want or need the accolades from others in the bassist community/world and their fans? Also, would love to hear some more of your thoughts on Carol Kaye, (another sorely unknown name to most out there) and her influence on not only you, but to the bass community and why she isn't more widely known and recognized.

MY ANSWER:

Well, you put me in some damn fine company there. I appreciate your concern and frustration.
Aside from being in a much more underground scene than any of those other quite famous players there is also the other side of self-promotion that involves a lot of work. I’m kind of a terrible schmoozer and don’t take advantage of the kind of networking I could to push myself into some more conspicuous level. I’m also not a particularly flashy player so that also keeps me in the underground, a place, by the way, where I am happy to reside. I’d be lying if I said I didn’t experience jealousy from time to time. That said, I think those lists tend to be bullshit. Many of them are popularity contests and if you’ve ever seen the Downbeat readers poll, for example, they make little sense. For the most part it’s all opinion from those that care to voice their opinion. I mean, it’s a fact that people like Jaco or Jamerson were game changers. I don’t see myself in their league by a long stretch. But fame is essentially about who gets the votes.
I get all the accolades I need in the work that I get and from the musicians who hire me and, to be honest, from kind words from people like yourself especially when I can tell that they are actually listening.

Carol Kaye had a huge influence on me since my first teacher had me working from her books during my first year of study. It wasn’t until years later that I really discovered who she was and how important her style and creativity were to many types of music. She, like many great musicians, works mostly behind the scenes. She’s not a “solo artist” like Jaco or Victor and she’s not a lead singer like Geddy for example. Obviously a persons fame or profile says nothing about their talent or artistic contributions. That is endlessly debatable of course. One can only be happy with what one has, and there are plenty out there with far less.

YOUR QUESTION:

09/29/2019 20:08:29 Kim Bendix Petersen

1) I loved your retelling of the Bowel of Chiley release history and scuffles with bootleggers of the early demos. If you wouldn't mind, I'd love to know the story on the infamous Uremia/Mi Stroke Il Cigaretto/Live In America EP. Was that in any way band-sanctioned?

2) You're credited as the sole writer for Everyone I Went to Highschool With Is Dead. While I can easily conceive of the lyrics, song structure structure and bass parts being yours, I'm curious as to whether you participated in assembling the "noise" parts – that usually seemed more like Trey or Mike's doing.

MY ANSWER:

1) Believe it or not (and this again tests my memory) I believe that release was entirely band-sanctioned. I can’t remember why.

2) I had specific ideas about the noise sections —even down to the improvised drumming on the chorus and the polyrhythmic cowbell —but as with a lot of our collaborative work I let those ideas manifest through the performer.