YOUR QUESTION

05/16/2020 Jeff S

There seems to be this perception that you and some of the other guys in Mr. B are embarrassed by your late 80s slappeh da bass era....I get that Bowel of Chiley was amateurish and raw but GDILA and OU818 had some great songs on there
Also, am I the only one who recognized that Patton took the "raise a glass and toast to the thing that hurts you the most" lyric from "Bloody Mary" and reused it in the Faith No More song "Last Cup of Sorrow" a decade later????

MY ANSWER

I feel that there were moments of good song writing/ideas with those demos, but to me the musical packaging doesn’t hold up as well as other things. They reek with amateurism and failed experimentation. I wouldn’t say I’m embarrassed, but I do like the idea of moving on and forgetting. And, no, you are not the only one who recognized that bit of self-cannibalism.

YOUR QUESTION

05/16/2020 Jeff

Does it annoy you when a musician preaches politics to the point it becomes obsessive. Someone like Roger Waters for example

MY ANSWER

Not necessarily. That’s his right and anything annoying can be avoided for the most part. Opinions are rampant thanks to our omnipresent access to them. Also, very simple to avoid. Being annoyed isn’t that big of a deal either.

YOUR QUESTION

05/16/2020 Sofia

Hey, I saw the "Cronenberg on Cronenberg" book on a pic you posted on Instagram. I was actually watching all his movies from the 70s until the "crash" for the first time ever on this quarentine and discovered that book through you. That came on the right time. What did you think about the book?

I loved it, although sometimes his point of view on politics x art (feminism and other stuff) is a bit too closed on one side to me, he keeps saying that the artist should have no responsability at all - a point of view that I understand, but do not fully agree, because to me there are contexts and contexts. But I do like when he says he wants those things to be a bit more subtle. It's a new perspective to me, because I've always related pretty fast with more politicized art, and somewhat, to a certain extent, art with political statements seems to be in a lot of places right now - take "Parasite" winning the Oscars, Beyoncé releasing "Lemonade" some years ago and talking about feminism and black people, and a lot of other stuff.

It's something relatively new to me to dig artists that don't have such a proeminent political statement on their work - in that I include you, Mr Bungle, Patton. I'm curious about what you think about this theme - art and politics. Do you agree with Cronenberg? Or do you enjoy works that have a more direct political message? Do you think that maybe this political wave on art has to do with the state of the world right now?

MY ANSWER

I loved that book, too. Read it years ago and pulled it out to re-read, which I haven’t got to yet. He’s a very quotable guy; very eloquent and direct. I have a leaning to agree with him about responsibility partly because, regardless of what an artists creates, it will be interpreted subjectively. If 100 people listen to lyrics I wrote there will be 100 different takes on what they “mean”. Part of the art, to me anyway, is creating something that has no meaning, or that I myself don’t even understand. Not only is it not my responsibility to explain my creations, sometimes I can’t. I personally have almost zero interest in politicizing my art. I also find politics incredibly boring. Now, if we are talking about social justice, for example, that’s more interesting, but still I find it…hm, tasteless perhaps?…to weave into the chords and melodies I write. And I am using that word literally.

I’m certainly not going to stand on a soapbox and say that politics does not have a place in art. Of course, the beauty of art is that it is individual, and it’s anyone’s right say what they want to say. If we don’t like it we don’t have to pay attention to it. If we find it harmful, well, that is also a different story and deserves action. Can art create political change? To a degree, but probably not on it’s own. Attentive people respond to subtly more than one might think and another beauty of art is hiding meaning within it’s form. The is a reason for metaphor. My opinion, my identity, my ego, and my beliefs are my own. Completely subjective. I will act accordingly in the political realm by, say, voting and making certainly life choices. But I have no interest in aligning those things (in an obvious way) with my musical creations. Powerful art might be a catalyst for self-reflection and exploration into deeper beliefs, but sometimes political art is more about the message and the politics than it is about the unique humanity of creating something and I find that distracting to the point that both the vessel and the contents are watered down.

I tend to look with disdain upon trends even if I do fall victim to them from time to time. There are too many reasons why trends and herd mentality are both dangerous and lack real backing. I often don’t trust them. But I do believe it’s human nature and a survival instinct to go along with the pack. Less likely to be eaten by predators. These days there is such an ‘us vs. them’ mentality that no gray areas are tolerated, and I love gray areas. I like being confused. I try to keep a grip on why I chose music in the first place — it was because of the sound and the feeling I got when listening to and/or playing with other people. It had nothing to do with where my genetics can be traced back to who I like to make out with.

YOUR QUESTION

05/16/2020 Dave

Hello Trevor,
You play many different types of music with many different musicians. Do you ever get to a recording session or a show and just aren't in the mood for whatever type of music you're about to be playing? If so, how do you get yourself psyched up to play what you don't feel like playing?

MY ANSWER

Usually any negative feelings I might have, physical or mental, dissipate once I actually start playing. I’ve noticed that’s almost always the case as if there is some healing element to simply lying my hands on the instrument. I hate the idea of ‘phoning it in’ and do my best to rid myself of any bad mood or ego blockage that would be readily apparent upon listening. I’ve certainly done gigs that serve only financial purposes but that doesn’t mean I don’t want to sound good, or rather, do the best job that I can and provide what I’m being hired for. There is usually plenty of psychological warm-up time for any live gig or recording session which often involves going over the music, internalizing it, being prepared to be inside the music. Most likely it’s not the music that is going to affect me negatively regardless of genre; so essentially I can go to the music for direction. The music will tel me what it needs and that attention puts me in a good zone.

YOUR QUESTION

05/16/2020 the ideograph

Hello Trevor, I'm interested in any reflections you'd like to share on working with Zorn, if this question hasn't been addressed elsewhere. Back in Bungle days, what was it about his work that interested or challenged you? What do you derive from more recent collaborations, after you've both perhaps shifted your artistic interests and positioning through the years? And which Moonchild piece do you recall enjoying playing?
I'm sad I missed the Moonchild Templar shows a few years back (I was deep in other musical rabbit holes). There seemed an elevated energy between yourselves as a group, particularly with Zorn conducting the encore improv, that is conspicuous even in recordings. Joey Baron is a delight to watch & I love your delivery of pieces like Libera Me, A Second Sanctuary. Looking forward to the upcoming Trio-Convulsant and your solo material, when it manifests - bring on more Trevor voice.

MY ANSWER

Back in the Bungle days we were attracted to Zorn’s somewhat encyclopedic knowledge of music. This has continued into current times with Zorn knowing instinctively how to achieve ideal orchestrations as well as combinations of musicians. Working with him is always intense—a hyper-focused work ethic that doesn’t wane until the project is complete. No lollygagging. It’s hard work and it’s lots of fun. The Moodchild shows were always super intense as well, very physical for me, plus I was doing the “conducting” —cueing the others, and also non-stop. My favorite album is the expanded version Six Litanies For Heliogabalus. I love watching Joey play, too! Cheers

YOUR QUESTION

05/15/2020 MeltmuhBanana

Is there a genre of music that you haven't delved into yet that you are seduced into possibly playing with in the future? And on the other side of that- is there one in the spectrum of which you are absolutely NOT interested?
Of the artists/musicians operating in the biz today, who would you most like to work with if given the opportunity?
All the best!

MY ANSWER

Salsa music is a genre that, as a bass player, has long been intriguing and for which I have respect. I don’t know if I’d ever attempt to play it for real, but I have fantasized about diving into it as a student. Broadway musicals are something I would steer clear of. I’d love to work with Fiona Apple, PJ Harvey, Bjork, Megan Thee Stallion or Anne Teresa De Keersmaeker

YOUR QUESTION

05/13/2020 Mike Hi Trevor,
2 multi-part questions I'd be curious to know the answers to:
1) Any plans to write/record/release more MadLove music? My wife and I loved 'White with foam' even had 'absence & noise' as part of our wedding day playlist. I would love to hear how this band evolves on a second outing.
2) During these pandemic times, what fiction and nonfiction books would you recommend to comfort and scare readers with time on their hands?
Thanks in advance for taking the time to write back to these questions!

MY ANSWER

1) No definite plans although that’s a medium I would love to return to. My still unfinished “singer/songwriter” album is sort of fulfilling that role at the moment. Also, sorry to break it to you but Absence & Noise is sort of a break up song haha.
2) I recently re-read Camus’ The Plague which was terrifyingly still relevant to the current pandemic. Bear Attacks by Mike Lapinski is scary AF.

YOUR QUESTION

05/12/2020 Kyle

Hello Trevor, Hope you're well.
Do you produce at all? Working on the productions you have, and the producers you've worked with I'd hazard a guess you've picked up some tricks.
Anyhoo, Hope to see you live in some guise in the future, and stay safe.

MY ANSWER

Other than my own projects (MadLove, Film music, trio-convulsant) and my input with my own sound on others’ recordings I have not produced anyone else’s records. The role of a producer is debatable and the levels vary considerably. I’d be happy to help out anyone who had no idea what they were doing, but in general I tend to leave things up to the engineers. That’s an instrument in it’s own right— one I have not studied thoroughly. Any tricks I’ve picked up have mostly come from engineers. A lot of times, the best role of a producer is an objective and keen set of ears.

YOUR QUESITON

05/12/2020 Godot

Which album you worked on do you find best produced? Perhaps your favourite sound guy?

MY ANSWER

If by sound guy you mean recording engineer, Ryan Streber, Aaron Nevezie & Marc Urselli all come to mind. Bungle’s California, Zorn’s Six Litanies & Interzone, Nels Cline’s Macroscope and Ben Goldbergs Here By Now are probably some of my favorite sounding records.

YOUR QUESTION

05/12/2020 Jon L.

Curious as to the 5 most difficult and 5 most pleasing times you have had during your career. Could you put together a small list (most likely there are plenty of both) while also explaining briefly why? Not asking for specific order with this. Nor do I expect long epic tales. With people spending so much time reflecting figured you had some memories going on you might like to share...

MY ANSWER

Hm, that’s a difficult one to be honest. I don’t think that many stand out either way. Definitely a handful of horribly ill-attended performances that made me question my career. Also, a band leader, who shall remain nameless, gave such negative feedback after a performance that I nearly dropped my upright and walked away from music forever. One the other hand, I played a gig once that was so cathartic that I thought for a moment I might have an orgasm. A good turnout and attentive audience is always gratifying and much more fun to remember than times I walked away from gigs feeling like I played like shit.

YOUR QUESTION

05/13/2020 Rosner

How does a band like Guns N Roses become so popular? I don't get it.
Also, are there any "mainstream" bands you would consider yourself a fan of? Do you rock out to Oasis???

MY ANSWER

I think GNR, as they are commonly referred to, came at the right time for a particular demographic. They filled the shoes of Aerosmith who were sucking at the time, plus they appealed to and L.A. rock crowd that didn’t embrace metal. They filled a void in in a way that was both nostalgic and conservative while maintaining a sense of partying and rebelling. There’s plenty more to not get.

I can’t stand Oasis, but I’m a well-known Britney fan. Also love Beyonce & Rhianna and I’ve been digging Billie Eilish. Can you call Frank Ocean, Kendrick Lamar or Missy Elliot be considered mainstream? I dig all them as well.

YOUR QUESTION

05/13/2020 JC Thoughts on Primus and the bass playing skulls of one Les Claypool

MY ANSWER

Not particularly.

YOUR QUESTION

05/13/2020 David Hill

Would you be interested if someone asked you to record voice overs for cartoons?

MY ANSWER

Why not? I’d also be interested if someone asked me if I wanted chocolate ice cream.

YOUR QUESTION

05/13/2020 Mr. Doofus

Hi there Trevor! Hope these questions aren't too much of a bother:
1. Back in the day, there was talks of (I believe from Mike) of doing an all-electronic Fantomas record. Did anything ever surface from said idea, be it a demo track or two, or was it merely just an idea y'all wanted to explore but didn't?
2. Did you ever have any interactions with Chuck Mosley?
3. Have you ever had a moment where you were hanging out with Mike & Trey these past few years, and just thought "Fuck, we were some kids in a high school band and now we're highly-regarded"? I imagine the feeling of coming out to an entire audience only to play y'all's first demo was fucking insane.
4. I don't know if you've ever mentioned being a gamer, but if you have, have there been any game soundtracks that wowed you? They certainly have come a long, long ways since the Nintendo days, and I feel like I could hear you doing an excellent soundtrack for a more artsy/indie game
Hope all's well with you, and if you haven't gathered for all the y'all's.. Greetings from Texas, my dude

MY ANSWER

1. Nothing ever became of that. It was Mike’s idea. No idea why it wasn’t realized.
2. Nope
3. I never think to myself “I am highly regarded” and I’m not trying to be overtly humble by saying that. But I do have moments of checking my reality and feeling incredibly fortunate. I think the 17 year old me wouldn’t believe it. At the same time, a lot of hard work went into the whole thing.
4. I’m not a gamer at all and haven’t played anything made after 1990. I can write music though.

YOUR QUESTION

05/09/2020 8:34:38 Jo (again)

As someone who travels widely, have you ever been caught out by embarrassing mis-translations, or by words that have wildly differently meanings in different countries? As a British student visiting friends in Detroit many years ago, I quickly learned that asking whether I might "bum a fag" was not the most acceptable way to ask for a cigarette; just as my American colleague found that complaining that her aeroplane seat was "too small for her enormous fanny" was met with gasps of horror in the UK. Have you ever made any similar faux pas while travelling?

MY ANSWER

Hahaha, “fanny” is worse than “cunt” in the UK? What typically happens to me is I start trying to speak the language of the last country I was in, so I’ll end up saying “Si” to a German, and “Tak” to Dutchie….

YOUR QUESTION

05/09/2020 Jo

Any idea yet when you might finish the singer songwriter record you have been talking about for a while? Is it in a similar vein to MadLove? For me, "Left with Nothing", which you sang on, was a particular highlight of that album, all of which I love. On the subject of singer songwriters: first, is there anyone you are particularly influenced by, or particularly like or would recommend? Second, any opinion on Iron & Wine or Bon Iver?

MY ANSWER

Hi Jo. I’m not really sure when I’ll finish. I chip away at it when I can. Hopefully by next year. It is somewhat similar to MadLove in terms of harmony and song structure. “Left With Nothing” was my first attempt at recording lead vocals and I really enjoyed it. That was essentially the catalyst to do the “singer/songwriter” album. Willie Nelson, Elliot Smith, Judee Sill & Fiona Apple come to mind as influencers. Second, no opinion yet!

YOUR QUESTION

05/06/2020 Rich

Hey Trevor, random questions.
1. Eureka is such a remote town, how did your family end up there?
2. What is your favorite color?
3. Favorite city to play in the US? Least favorite?
4. If you had to live outside the US, where would you choose?
5. Opinion on reggae?

MY ANSWER

1. Both of my parent’s families were involved in the lumber industry in Oregon and migrated South for better work. My parents met at Arcata High School.
2. Black
3. Brooklyn (so I can take a cab home), Cheyenne.
4. Difficult question. So many options: Mexico, Sardinia, Berlin…
5. I dig the Wailers and Peter Tosh. I don’t hate it like I used to in college.

YOUR QUESTION

05/05/2020 Jack

Did Jed Watts ever write any music for Mr. Bungle?

MY ANSWER

No, he did not.

YOUR QUESTION

05/04/2020 Frau Dead Louse

So what Crowded House albums have you been obsessed with these days, Trevor? Take care!

MY ANSWER

All of them! Mostly Time On Earth and Woodface recently.

YOUR QUESTION

05/02/2020 CircusMoth

Hi Trevor,
I was wondering what books, albums and films you liked growing up and in high school? I know you've mentioned thrash metal before but what about things like Star Wars? Science fiction? D&D? What sort of things laid the foundation for who you eventually became?
Thanks!

MY ANSWER

I’ve pretty much named a lot of those in my bio on this site, but Cheap Trick’s Live at Budokan, Kiss’ first few records, Blondie, Elton John’s Madman Across the Water & Goodbye Yellow Brick Road were all big for me. In terms of books I really loved Zilpha Keatly Snyder’s Witches of Worm & The Headless Cupid. Difficult to remember my earliest film affinities but Marilyn Monroe caught my attention at a young age and I think those movies eventually led me to noir. I used to go to the drive-in with my parents and see spaghetti westerns, Bruce Lee, and Clint Eastwood movies.