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Browse by: Trevor Dunn (Biography) (0.19 seconds)
 
 
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After realising my natural affinity towards surrealism several years ago I decided to study it's origins and definitions of which Breton provides an abundance of source.
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Being in several, disparate bands is what I thrive on.
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Between tours I've just been enjoying being home, listening to the records I bought six months ago and writing some music.
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Bungle is definitely a priority right now.
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But I also like to be in control, like anyone else. I try to achieve a balance.
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Different people bring out different aspects of ones personality.
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Harry Patch didn't get enough recognition. Jerry Garcia got too much.
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Hopefully, as a band, it will grow and develop for a good length of time.
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I do intend to tour, write and record again with trio-convulsant.
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I don't really know why I chose bass except that it was different than guitar.
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I feel akin to the Platypus. An orphan in a family. A swimmer, a recluse. Part bird, part fish, part lizard.
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I guess the two Manifesto, Communicating Vessels, Mad Love, and some of his poetry made a significant mark on me but as far as bringing a literary element into the music I see it as a much broader assimilation.
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I have accidentally double-booked myself on occasion. That's the worst.
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I have no inflated ideas about success anyway.
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I love being a musician. I love the lifestyle. But I think it's probably as difficult and frustrating as anything.
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I love playing in Fantomas, which is very strict in terms of composition.
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I mean, I would hope that I have a style or personality that is evident wherever I go.
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I need to broaden my horizons.
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I never understood why the metal heads in my school hated the punks.
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I rely on the hope that there are people in the audience that are actually listening.
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I remember when metal was something you really had to search out, and now I hear it on car commercials.
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I take all of my music seriously and personally.
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I think a lot of musicians, like Graham, Goldberg or John Schott, just to name a fraction, don't get the recognition they deserve.
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I think it was more personal, but I certainly tried to adapt certain concepts of Surrealism.
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I was also commissioned to write a solo bass piece for Jon Deak, who will premiere it, along with a piece by Eyvind Kang, at Merkin Hall, Lincoln Center on February 17.
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I would never be able to choose one project over another because it is the balance, the variation, the change that is important to me.
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I'm comfortable, but not satisfied and I hope to always feel that way.
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I'm just starting to write some stuff for another recording, which I'd like to do sometime in the first half of the year.
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I'm sure every musician at one time or another has fantasised about quitting music.
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I've experienced as much fame as I ever want to.
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I've played recently with old cohorts from the bay area including Jenny Scheinman and Jessica Jones, and I've done some recording for Zorn.
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If I can introduce someone to something new, as is constantly happening to me, then I am elated.
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If you want music that speaks to you, that LISTENS to you, you have to go out of your way, which I enjoy actually. I'm constantly on a private-eye kick to find the totally obscure.
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In fact, I try to embrace the music, personality, style, phrasing of other's depending on who I'm playing with. I try to reflect their music.
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In general the audience reaction to Fantomas has been positive, that is, when they're not yelling at us between songs... or during songs for that matter.
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In studying the Surrealists and their peers, I continue to reaffirm my own ideas about art, and I think a lot of their reactions to their surroundings, and the catalysts for them are relevant today.
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It wasn't until after private lessons and learning bass lines that I even noticed bass in the music I was listening to at that age. My ears were blown wide open.
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It's really hard not to judge an audience on a few morons overwhelming behavior.
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It's too hard for me to comment on the sorry state of our culture.
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Like I said, I want to continue writing for my trio, and I'd like to release some chamber music one of these days.
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Mullets are still going strong in the south and places like St Louis or the Carolinas.
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Music is a very personal and emotional form of communication.
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Now I am obsessed with collecting Platypus paraphernalia.
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NYC is chaotic. And I am attracted to chaos.
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Pop culture is not about depth. It's about marketing, supply and demand, consumerism.
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Subconsciously, as I have discovered, I have always been attracted to this weird little creature that is a total loner, no one cares about. The Platypus is a misfit.
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The act of bossing someone else around is always much more pleasurable than being the recipient- unless you're into the whole domination thing.
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The bungle tour is a bit up in the air due to the fact this at we are getting screwed by our overseas label.
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The trio has only played live once! Sometime after the Bungle tour I would like to set up a tour of my own.
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There has always been a small core of people in this world who migrate to the outside, or to the fringe. I'm painfully aware that I am one of those people and that I have to surround myself with those people if I'm interested in any sort of social interaction, not to mention, education.
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There's a reason I moved to NYC, and if I listed all the musicians on my list you'd grow weary.
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Well, I've never been to Japan so I couldn't say. I do know that we have a bit of a following there however.
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Well, musicians everywhere make up a small part of the population, so incest is to be expected.

Biography

Trevor Dunn is an American musician. His primary instrument is bass. He is (or has been) a member of:

*Mr. Bungle
*Fantomas
*Secret Chiefs 3
*Trevor Dunn's Trio Convulsant

He has contributed to or played with:

*John Zorn's Electric Masada
*John Zorn's Naked City
*Tin Hat Trio
*Many other Bay Area and New York artists

External Links


Selected Discography of Trevor Dunn - a comprehensive list of Trevor's live and recorded projects

Ipecac Records Trio Convulsant Page - link to Trio Convulsant's page at record label Ipecac Records

...(more on Wikipedia)

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Trevor Dunn".
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