Album Reviews #47 - Disco Volante by Mr. Bungle
Mr. Bungle were always inspired by David Lynch’s style of combining dream-like surrealism with the uncomfortable and the nasty. They had included some samples from Blue Velvet in their self-titled record, and now, they have gone ahead to create a full album of Lynch-inspired oneiric reverie. Disco Volante's music evolves with its own logic; the songs shift from moments of intense and scary other-worldly emotion to completely dissipate into miscellaneous sound collages, and then evolve into more miniature samples of wrecked music.
As with any David Lynch film, the atmosphere in the album can be as thick as it is ordinary. While the music seems dissipated and random in most senses, it is only so in its structure. I have always said that Disco Volante shares many sound similarities with Jeux des Dames Cruelles, an album by the band's first album producer, John Zorn. However, while the music of Jeux des Dames lets itself spill like the paint of a splashed canvas, the music of Disco Volante turns into something at the same time less and more tangible—not the world of smeared paintings, but the world of dreams. There are so many miniatures of music composed in a wonderful tapestry of influences, ranging from Nuevo Tango and Psychedelic Pop to Klezmer, Raga Rock, and Acid Techno. All these miniatures of sounds can be as catchy as they are cinematic. While these moments can be memorable on their own, Disco Volante dissolves instantly into a cacophony of banal musique concrète sounds and field recordings or changes its train of thought to a completely different genre or composition without losing its character. For example, "Phlegmatics" starts with a Thrash Metal section, only to suddenly stop and slowly build up where both guitar and voice seem to be independent of the rest of the song in a beseeching lament while the drums are still on a chase. This way, "Phlegmatics" blends the sensation of yearning and anguish, which you can experience in nightmares or delusions caused by sickness. "The Bends" is composed mostly of an atmospheric piece exuding different ominous melodies per minute around a sci-fi flair. "Violenza Domestica" has momentary bursts of violence around cheap sentimentalism, slowly deteriorating into a creepily possessive song. This is something that many Bungle-inspired bands were unable to understand: Bungle’s eclecticism is more about genre-bending rather than song-swapping. The songs do not change one after the other in the same track, but they can explore wildly different sounds around the same idea while staying cohesive as a single, albeit broken, piece. Even when the jar is broken, it is assembled with the same parts it is composed of, rather than pieces from different jars, and that’s where its genius lies.
The emotions in the record can be as terrifying and revolting as they can be in Lynch’s movies (as, for example, in Blue Velvet itself, with its plot involving kidnappings, sexual slavery, and abuse), but there are brushstrokes of an added emotional palette in this record. It is Mike Patton’s whimsy and the band's knack for jest that give life unique of its own rather than one of a simply Lynch-inspired record. The buffoonery that embodies the record works to make it even more nefarious and depraved. With its banter, Disco Volante transforms what could be a world of pure horror and shock into a complete tapestry of depravity, making it one of the most horrifying albums you could ever hear. It is true that as it stands, this might as well become the less popular of the three mainline Mr. Bungle records, with its average dropping further every year and its overall track ratings barely managing to get a few bolded songs to date, which curiously enough seem to favor the tracks that maintain a proper rhythm instead of the more freeform ones. Still, though, I find it an absolutely incredible record, probably more so than the other two records, considering its attention to detail in creating a cohesive soundscape—a palpable, almost tangible experience in the freeform song, which is something all other Bungle bands have not either managed or focused to create. If you find it way too difficult to properly grasp, my advice would be to start with the tracks that are more freeform and climb your way up, leaving the tracks with more apparent rhythm at the end, to not let your brain get used to their momentum before it is wise. The record as a thematic piece is summarily cohesive, but if the order of its movements disconcerts you more than what it helps you, you can still take advantage that all these are different songs and that they are pieces you can independently digest as you see fit.
As it stands today, Disco Volante is one of those records that might be too difficult for most people, but its experience is undeniably unique and amusing. It's edgy, funny, hilarious, and incredibly vivid and striking. If you are interested in art that accurately represents the world of dreams, I absolutely recommend it to you, not just because of its oneiric quality, but also because it is completely evil and hysterical.
My version thing to do is putting all The Bends sections between each song, this connects the album with a thematically spooky ambience. Moving Nothing after After School Special and putting The Bends ending, Re-Entry, allows the album to end in a gust of noise and loop back to Everyone I Went To High School With Is Dead.
Everyone I Went To High School With Is Dead
Desert Search For Techno Allah
Duet For Guitar And Oxygen Tank
Love In The Event Horizon
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