4/25/2023 0 Comments Disco volante mr bungleHeifetz darts between free-jazz stylings and hyper-precise death metal, sometimes at the drop of a hat. But that depth is also partially due to Danny Heifetz’s brilliant drum work. “Mow Meeshka Mow Skwoz” is one of the band’s finest moments – on this or any record – and contains some Tex Avery-inspired sequences that border on the deliciously delirious.Īs previously mentioned, the record has depth due partially to Patton’s vocal inventiveness. It wraps up with a “secret song,” complete with faux-Grandpa Simpson voiceover, which sounds like Henry Mancini dropped too much acid while writing the Peter Gunn theme. Then there’s “Sleep (Part II): Carry Stress in The Jaw,” a jazz workout, which begins with Dunn racing a blaring trumpet and unfurls into a nine-minute composition of alarming depth. The band members speak-sing in deadpan unison, with Patton occasionally breaking into a scream or a roar, and Trevor Dunn unleashing the meanest, meatiest bass line on this side of the Melvins’ “Night Goat.” That composition also challenged those looking for the playfulness of Mr. If you take it in from beginning to end, perhaps as intended, it’s a bizarre but oddly fulfilling trip.Īnd the compositions! The album opens with a grind and a roar: “Everyone I Went To High School With Is Dead,” which gives some indication of its ferociousness through its title. It’s not as fulfilling or sensical to listen to just one or two songs from the LP, or skip around outside the band’s predetermined sequencing. Here, songs begin and end almost arbitrarily, with bizarre sound sequences appearing before, during and after key compositions. To be clear, though, Disco Volante’s means of editing and undermining verse-chorus-verse conventions are nowhere near as pressurized as 1999’s California. With 12 challenging, occasionally revelatory songs clocking in at more than an hour, the LP is driven by wild percussive threads and an overarching sense of madness, and is big on cuts and editing. Bungle’s strangest, and that’s saying a lot, maybe more than you could imagine. And the band delivered – just not in the way people might have expected.ĭisco Volante (Italian for “flying saucer”) is a strange, contrarian document of a record, perhaps Mr. By 1995, with two more Faith No More records – dark, moody ones – already on the streets, fans and critics had high expectations for Mr. The carnival-barker-esque Faith No More frontman was front and center on the radio-ready The Real Thing, which had exploded on the charts a year or two earlier, but continued working in Mr. This was due, in part, to ringleader Mike Patton. Bungle, that merry band of musical mischief-makers, made a big, Zorn-assisted splash with its self-titled, major-label debut in 1991.
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