Disco Volante
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| Studio album by Mr. Bungle | ||||
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October 10, 1995 |
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| Label (s) | Warner Bros. Records | |||
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12 |
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Mr. Bungle · Billy Anderson |
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Disco Volante is the second studio album by the jazz core band Mr. Bungle . The album was released in October 1995.
In addition to the musical influences of jazz , metal and film music , the musicians oriented themselves towards topics from the fields of literature , philosophy , film and art , especially those of surrealism .
The album is considered to be the most imaginative, diverse and most important of the band. It is occasionally referred to as one of the most innovative of the 1990s; commercially, however, it was a failure in comparison with the other releases of the band and their musicians.
prehistory
After the tour of the self-titled debut album in 1991, most of the Mr. Bungle members were active in other bands and projects. Singer Mike Patton had worked with Faith No More since 1989 and invited guitarist Trey Spruance to replace Jim Martin just a few months before the production of Disco Volante . Together with Faith No More they released the album King for a Day… Fool for a Lifetime . Drummer Danny Heifetz was involved with the bands Dieselhed and Neil Hamburger and the Hungry Man Band . Meanwhile, bassist Trevor Dunn and saxophonist Clinton McKinnon played independently of each other as studio and ensemble musicians in the greater San Francisco area. In retrospect, the drummer Danny Heifetz described Disco Volante as a “ renaissance ” of the band, which he also referred to the return to earlier demo work by the band. Trey Spruance also highlighted this recollection.
Emergence
The band described the songwriting for Disco Volante as a difficult process. Trey Spruance explained that most of the songs were created in several stages. The first step in recording the tracks he wrote consisted of a four-track recording, primarily of the guitar. Then the rhythm section should play a part corresponding to the guitar, which he recorded and mixed. He then added the keyboard part to the previous recording. Only with this raw version did the band start recording.
Trevor Dunn, however, also speaks of a jam session to complete the ideas of his titles. This examination of the band with the ideas created by the other members he called the traditional Mr. Bungle method, so that almost all members were at least slightly involved in the individual titles.
According to Spruance, the share of their record label Warner Bros. Records consisted only of the cash advance to produce the album. Warner provided Mr. Bungle with a sum of between $ 80,000 and $ 100,000.
Unlike the self-titled predecessor, Disco Volante was not produced by the band's friend, jazz musician John Zorn . Instead, the album, like its successor California , was produced and mixed by Billy Anderson . Anderson had previously gained notoriety for his work on Neurosis ' Enemy of The Sun , The Melvins ' Houdini and Sick of It Alls Scratch the Surface . The trained sound engineer Anderson was already an important producer for underground metal and was popular for a very raw and aggressive sound. Despite his plethora of other popular albums, Anderson called his work with Mr. Bungle the one he was most proud of, highlighting the length of the work on Disco Volante . From the first recordings to the finished album, the band, guest musician and producer worked on the individual pieces for nine months.
style
On their second studio album, Mr. Bungle moved away from the style of the self-titled album, which was dominated by ska , punk rock , funk metal and hard rock and, according to their own statement, returned closer to their roots. The formation, which was founded as a death metal band, recorded not only doom and death elements but also sound elements from avant-garde jazz , klezmer , new music and film music .
In addition to the consistently dominant Metal and Hardcore , fragments and structures from Easy Listening , Tango , Swing , Folklore or Techno also come into play.
The pieces turn out to be particularly changeable and complex. Although there are no improvisations on the album, the mix of noise and music always consists of a mixture of free jazz and various areas of metal.
What is striking about the overall sound of the album is both the frequent use of an electronic organ and the various vocal effects . Equally unusual for the metal and hardcore genre is the repeated use of scat singing and symphonic poetry . Almost all tracks are riddled with breaks , which mostly vary or destroy the entire song structure, at least for a short time. The title "Merry Go Bye Bye" makes this change from surf rock to noise and death metal to pop of the 1950s, but is comparatively little nested. Other tracks contain less obvious breaks like “Everyone I Went To High School With Is Dead”, which is based on Doom and Sludge Metal , which rolls over towards the end and disintegrates into a mixture of avant-garde jazz and noise . In addition, the entire album is pervaded by sound effects and sound samples, which support the respective title in terms of content or also break at short notice.
title
Disco Volante literally means “flying disc”, but like the German expression “flying saucer” it is also an Italian synonym for a UFO . The title “Disco Volante” was also borne by an Italian comic- grotesque science fiction film from the year 1964 and a fictional hydrofoil from the James Bond film Thunderball, written by Ian Fleming in 1961 and filmed in 1965 . Mr. Bungle covered the title song originally sung by Tom Jones in the late 1980s . Both Dunn and Spruance and Patton emphasized their penchant for surrealism and movies, especially B-movies , which explains the name of the album. John Zorn named a song from the 1997 reissue of his 1990 album Locus Solus after the album by Mr. Bungle.
layout
The artwork was designed by the band, Australian comedian and post-punk musician Gregg Turkington and musician Margaret Muffay. The artwork is based on the title "The Bends" and takes ideas from the surrealists and Jules Verne's 20,000 Leagues Under the Sea and Ian Fleming's Thunderball .
The cover photo shows a dried viper fish that is held by her around the eye of a young woman. The image is reminiscent of the striking scene in the film An Andalusian Dog , in which a woman is supposedly cut in the eye with a razor through the detail and the pale green colors . Dunn named the film as one of his most important non-musical influences. The photo is from Arthur Hertz, one of the directors of Wometco Enterprises Miami Seaquarium. The other photos also underline the surreal aspect of the album. The back of the book is decorated with an illustration by National Geographic illustrator Davis Meltzer, a dark underwater scene with several divers and some technical equipment including an air dome anchored on the ground. The red diving suits and the illustration show a clear resemblance to the Look Down / Underwater Battle poster for the James Bond film Thunderball by Frank McCarthy from 1965.
The back of the cover contains the title information without the hidden pieces in green letters on a black background, band and album names and an underwater recording. The picture shows a helmet diver . However, instead of using a helmet, this is ventilated through a continuous tube that encloses the face and leaves no field of vision. The diver wears simple clothing, walks on the bottom, carries a pouch and holds a halberd . The picture is from the photographer Joseph A. Tompson.
The booklet on the CD also contains graphics for each title. All pictures are in black and white and convey a dark, aggressive and surreal mood. This also includes a blood-smeared high school yearbook, a fragmented lower jaw or collages of crime scene photos as well as drawn surreal figures and landscapes.
Booklet information
In addition to the usual information about artwork and studios, the booklet information contains some special features. Danny Heifetz is listed in the booklet as I Quit (I give up) , with a wooden block as the only instrument indication . Heifetz said that the nihilistic name corresponded to his frame of mind at the time and that he would have adhered to his 30-day notice period for a termination in the event of an actual exit. Heifetz, on the other hand, explained that only the block of wood was cited with the words: "I played the fuck out of that woodblock" ("I played the shit out of this block of wood").
Trey Spruance, however, is as Uncooked Meat Prior To State Vector Collapse specified, which translated means: Raw meat is the wave function collapse earlier . Bassist Trevor Dunn are assigned no instruments in the booklet, but infamy (base) and abomination (vile) . The band members did not comment on the information about Spruance and Dunn. However, Dunn's “Base” and “Vile” are mostly juxtaposed with the instruments played by Dunn: “Bass” for electric bass and “Viol” for double bass .
The title list printed in the booklet contains after the twelfth track “Merry Go Bye Bye” the title “Nothing” without an associated title number. Although there is an untitled noise passage behind the track “Merry Go Bye Bye”, this is not the track “Nothing”. Instead, the title serves to mention the two band members Theo Lengyel and Danny Heifetz as songwriters, who were otherwise not involved in any songwriting and thus wrote “nothing” on Disco Volante .
marketing
After the release, Disco Volante was not sponsored by the label. There were no advertisements in print media or the production of music videos; in addition, no singles were released. As a result, the album was a commercial failure. While Danny Heifetz denounced the lack of communication and interest on the part of the label, Trey Spruance was satisfied with its supposed disinterest.
“If they promoted it, then we'd owe the record company for it. So we're in kind of a good situation. We get enough money to put out our fucking records, they don't care WHAT we do on the record. We don't get censored at all. They put it out, send it around the world, and they don't expect anything from us. It's kind of a good situation. "
“If they (Warner Bros. Records) were promoting it, we should be grateful to the record company for that. So we are in a good position. We get enough money to produce our record and they don't care WHAT we put on it. We are not censored. They bring it out, send it around the world and expect nothing from us. That is a good location. "
Even without the support of the record company, Disco Volante reached fourth place on the Billboard Heatseeker chart. The Heatseeker Charts are special charts from the US-American Billboard Magazine, which highlight publications by artists without previous chart success.
The album was originally supposed to appear on the European market via Slash Records . The label affiliated to Warner Bros. Records refused to market it on the grounds that there was no market for the album in Europe, which is why the album is only available as an import in Europe .
Published variants
Various vinyl versions appeared in America with a green vinyl version limited to 1000 copies and a general black vinyl version. The limited record was released with a previously unreleased 7 "single, which, in addition to the Mr. Bungle title" Platypus ", also contains two titles from Spruance's later main band Secret Chiefs 3 . The B-side of the single is thus reserved for the first release of Secret Chiefs 3 and is called "The Legendary Paper Project". Included are the label-critical pieces "Prelude The Fugue With WB Major" and "Label Influence". “Platypus” was not on the LP. The cassette, on the other hand, contains this piece as well as a colored version of the picture for “Ma Meeshka Mow Skwoz” as a gimmick , which is also in black and white in the CD booklet. The CD contains “Platypus” and the hidden title behind “Merry Go Bye Bye”, each song has its own artwork and, like the cassette, does not hide the hidden track known as the Secret Song.
All publications included a notice that sending two US dollars would give you additional material. The band gave their own PO box address and pointed out that the label had no influence on the additional gimmicks. The additional fan package contained some stickers, the scat lyrics for the songs "Ma Meeshka Mow Skwoz" and "Chemical Marriage" and other additions to the artwork.
tour
Gregg Turkington, who was jointly responsible for the artwork, was also the band's tour manager. Turkington has had a long-term friendship with the band since around 1990, from which, among other things, some collaborations emerged. Spruance and Turkinson in particular have worked together regularly since then.
The tour, which directly followed the release and ran from 1995 to 1996, included appearances in North America , Europe, and Australia, and eventually ended with two shows in San Francisco . Much of this tour was accompanied by the well-known percussionist William Winant. Despite his continued collaboration, the band continued to exclude Winant as a member and only called him a guest musician.
The saxophonist Theo Lengyel left the band after the tour without an official statement. However, some remaining band members later commented on his departure. While Trevor Dunn spoke of a hindrance to the band's creative development and Lengyel's lack of development as a musician, Danny Heifetz cited personal differences as the reason.
"I miss him. He added a huge chemical imbalance that helped us on the road. He hates us and rightfully so. "
"I miss him. He brought a chemical imbalance into the band that helped us on tour. He hates us, and rightly so. "
Playlists
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LP
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B side
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B side
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CD
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Track information
Everyone I Went To High School With Is Dead
The first track of the album "Everyone I Went To High School With Is Dead" was written years before the recording of Disco Volante and was performed live by the band in 1992. The title is primarily attributed to the sludge style . The music written by Dunn has borrowings from EyeHateGod and The Melvins . Instead of guitar solos common in Metal, the verses are framed and accompanied by noise passages. The text is meanwhile performed by the entire band in the speaking choir. The band tells from the perspective of a disappointed person who measures their life by their failed high school days. She crossed the deceased classmates from the yearbook and fell into mourning over them, although she never had any relation to the other students, sometimes even despising them. John Zorn used parts of the piece for various later projects.
Chemical Marriage and Ma Meeshka Mow Skwoz
In the second ("Chemical Marriage") and eighth tracks ("Ma Meeshka Mow Skwoz") Mike Patton uses his voice as an onomatopoeic instrument . According to Spruance, the band even created their own language for “Ma Meeshka Mow Skowz”. In addition to Patton's onomatopoeia, the titles written by Spruance are accompanied by electronic organs , which give the titles the flair of gloomy music at the fair. The song structure of “Chemical Marriage” resembles the surf rock often used by Spruance, while the track “Ma Meeshka Mow Skwoz” stands out through klezmer-like passages, but alternates between jazz and metal and is broken up by numerous sound samples.
Carry Stress in the Jaw and Phlegmatics
The title "Carry Stress in the Jaw" and "Phlegmatics" also "Sleep" (sleep) called Part 2 and 3. FIG. Part 1 is the title "Slowly Growing Deaf" from the self-titled debut album. Dunn only later named the pieces as "Sleep Part 1-3". All three titles deal with body parts and the loss of physical self-control. While "Slowly Growing Deaf" (slowly numb) of numbness is to handle part 2 and 3 sleep disorders and their consequences. "Carry Stress In The Jaw" deals with grinding teeth , while "Phlegmatics" deals with nightly drooling . In addition to his own grinding of teeth, Dunn also named the alto saxophonist Tim Berne as an important influence on "Carry Stress In The Jaw". In addition, the title refers to Edgar Allan Poe's short story Berinice and also quotes Poe verbatim:
"(...) In the multiplied objects of the external world
I had no thoughts but for the teeth ...
And of Berenice, I more seriously believed that
All her teeth were thoughts ..
The white and ghastly spectrum of the teeth ...
Meditations were never pleasurable ...
The phantasma of the teeth maintained
Its terrible ascendency (...) "
The music for “Carry Stress In The Jaw” is carried by a saxophone played like a free jazz, typical metal drums and Mike Patton's voice, which alternates between whispering singing and screaming. In “Phlegmatics”, on the other hand, fast drums and a calm saxophone dominate against Patton's echoing and slowly singing voice. Meanwhile, the title is also interrupted by short, calm passages and concluded with a sound collage at the end.
Desert Search for Techno Allah
"Desert Search for Techno Allah" is regularly titled as an Arabic techno piece. The title blends electronic music with a simple rhythm and Arabic instruments. The text refers to Peter Lamborn Wilson and his book "Scandal - Heresy in Islam", published in America in 1988. The text contains heretical statements and allusions for traditional Islam including the image of a drunken messiah . Both Wilson and Mr. Bungle use the Islamic end-time myth to come up with the picture of a free earthly paradise without a legal or religious doctrine; an idea that is also made clear by the Arabic chorus:
- Desert Search for Techno Allah (Trey Spruance)
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- Desert Search for Techno Allah (Trey Spruance)
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Violenca Domestica
The title “Violenca Domestica” is loosely based on the work of Ennio Morricone , whom Spruance and Patton often cited as an important inspiration. The piece is reminiscent of a radio play through many sound samples, dramatic instrumentation which makes use of the ideas of symphonic poetry , voice distortion and interspersed free jazz interludes . Patton speaks an Italian dialogue that is accompanied by jew's harp, bandons, castanets and piano, among other things. These very instruments give the impression of being close to Danny Elfman . The conversation includes a short dialogue that corresponds to a torture sequence in a mafia film . The recordings contain, for example, the sound of knife sharpening.
“Ti ricordi chi tiene famiglia?
I denti non possono dire niente… senza la lingua…
Perche 'la tua lingua e' mia! Mia! MIA! "
“Have you forgotten who is the head of the family?
The teeth cannot speak ... not without the tongue ... which is
why your tongue is mine! Me! ME!"
After school special
The name "After School Special" was borrowed from an American film series that addressed current and particularly social issues. The title itself is musically one of the simplest and most straightforward on the album. It is told from the point of view of a boy who adores his mother even though she allows him to be beaten up by his father. In addition to the plot of the song and the detailed refrain "Because she cooks, she cleans, she lies ... she said I am handsome" (Because she cooks, she cleans up, she lies ... she says I am attractive.) The soundtrack breaks after End of the song to a portrayal of a child abuse victim. Mike Patton assumes the pitch of a child via a voice distortion device and speaks at first happily, then confused, and finally frightened about the touch of an adult. Trey Spruance said the sequence was a commentary on Eureka , as the band's hometown would have one of the highest child abuse and abuse rates in the country.
"Ha ha ha ha ha, good, no no no no, stop tickling me, stop tickling me, why are you touching me, ha ha ha ha ha, why are you touching me, ha ha ha ha ... hey, where are you going? "
"Ha ha ha ha ha, well, no no no no, stop tickling me, stop tickling me, why are you touching me, ha ha ha ha ha ... hey, where are you going?"
The Bends
"The Bends" (The Bends ) is an ongoing ten-minute epic symphonic poem , which again makes use of Danny Elfman and Ennio Morricone. The purely acoustic story tells the journey of a diver who is cut off from his boat at the end of "Aqua Swing", sinks to the bottom of the sea and only feels happiness there in "Love on the Event Horizon" and at the end of the title in "Re -Entry “dies. The surreal title is considered the core of the album and is the most important basis for the album's artwork. The composition cannot be perceived as a song for a long time , but as a purely symphonic poem. Although Mike Patton uses onomatopoeic singing again, the voice usually fits in completely as an instrument. The recorded samples, for example an echo sounder or dolphin noises, underline the diver's journey. In keeping with the theme, all parts are kept very calm and spherical, but break out of this scheme when the boat is torn off and the diver dies.
Backstrokin '
"Backstrokin '" draws on the scat singing and the electronic organ of the tracks "Chemical Marriage" and "Ma Meeshka Mow Skwoz" as well as the sound elements of the track "The Bends", but merges them into lounge music and the like "Space Age Pop". The short text only describes an act of masturbation . While in the first half the piece consists only of lounge elements, in the second half the bass game changes to a harder hit variant that Mike Patton recorded and not Trevor Dunn. In addition, Patton used some soundtracks for distorted voice effects, which are mainly faint in the background of the title.
Platypus
Just like “Everyone I Went to High School With is Dead”, “Platypus” is also much older than the other recordings on the album. "Platypus" was supposed to appear on the band's debut album, but was initially not included and only made it to an album on Disco Volante . Therefore, there are some studio versions of the title, each of which has a different quality and partly contains completely different instrumentation. The originally planned version should be much longer, but the band cut a large part of the piece together. This first version was entirely by Dunn, but the band, and especially Spruance, later participated in the final studio version. The music of the title is extremely changeable, contains clear jazz parts in the piano and saxophone tracks and metal parts in the drums, it is also characterized by an innovative bass game. In some reviews, the title is described as the most layered and complex on the album. In the song Trevor Dunn tried worshiped him platypus to characterize.
“I feel akin to the platypus. An orphan in a family. A swimmer, a recluse. Part bird, part fish, part lizard. "
“I feel related to the platypus. An orphan in the family. A swimmer, a hermit. Part bird, part fish, part lizard. "
Merry Go Bye Bye
"Merry Go Bye Bye" wrote Trey Spruance with the intention to own emotional depth phase of 1993 ironically . In this personal crisis there was also the burst of noise , which hides a few minutes behind “Merry Go Bye Bye”. After he had a basic structure for the melody, the text was created intuitively, according to Spruance, within a few minutes. This quick writing also inspired him to place the noise recording behind the title as a hidden track . The title contains several changes in the overall musical style. The first few minutes are characterized by light surf rock that is completely contrary to the suicidal text, then breaks through a death metal phase with hermetic phrases about the pop of the 1950s.
Bring back the pain of a god that's never blue
You're in control of the whole damned universe
Bring back the shame and the bright lights on a few
It keeps me coming back to you
The deaths were faked, the laughs were cries
But resurrections are doing fine
You got me walking into suicide | Translation = Bring back the pain of a god who never grieves
You are controlled by the whole damn universe
Bring back the shame and the great shine on a few
It makes me come back to you
The deaths were faked, the laughter was crying
But rebirths go well
You are driving me to suicide
Merry Go Bye Bye (Trey Spruance)
Trey Spruance also connects an unfortunate concert incident with the title. Mr. Bungle played in San Francisco at the turn of the millennium . At this concert, an acquaintance of Spruance suffered a serious head injury during a failed stage diving and from then on attached special importance to the title. Up to that point the friend knew nothing about the genesis and Spruance's personal connection to the title. From then on, the friend was madly obsessed with the idea that the title would contain secrets from his own life and tried to elicit the hidden secrets of the text from Spruance. Spruance, who had no explanation whatsoever for his acquaintance, has since been confronted with a vague feeling of guilt that he had passed on his past low phase to someone else.
"(...) worse was the feeling that I had infected him with something that was gripping his soul with that song."
"The feeling was bad, I had infected him with something that tied his innermost to the song."
Unnamed and hidden pieces
In the CD version, behind “Carry Stress in the Jaw” there is the title known as “Secret Song” or “Spy” as a hidden track . In the LP version by Disco Volante , the “Secret Song” is in the same place as the track “Carry Stress in the Jaw” thanks to a double pressing . The parallel tone groove can only be found manually on the record and is not played during the regular run of the record. The title was created under the working title "Secret Song", but appears on some set lists under the title "Spy". The song was originally recorded secretly without Trevor Dunn's knowledge. Dunn discovered the title, however, just before the pressure, adding a vocal part, which in turn Mike Patton to release the album did not know. Dunn disguised his voice on the piece and croaked an old man imitating the lines “They kicked me out of the band.” ( They kicked me out of the band .) And “I know the Secret Song now, they wouldn't tell me, but somehow I've found out, Yeah. ” (Now I know the secret song, they didn't want to tell me about it, but somehow I found out.) . Dunn's added lines of text led to the frequent misinterpretation of the song, it was a comment on Jim Martin and his expulsion from the band Faith No More . Although Spruance replaced Martin and Patton's influence on Faith No More occasionally led to trouble between Martin and Faith No More, the band negated this notion. The musicians and songwriters alongside Dunn are unknown, but Dunn speculated that McKinnon played the drums and Patton played the bass.
The untitled noise breakout behind “Merry Go Bye Bye” in the booklet can also be found under the title “Miller's Higher Life” on the sound test CD “Stereo Test Record Vol. 1” from Indiscreet, for which Spruance originally wrote the piece . The title was created during an emotional low phase, which Spruance also writes about in the song "Merry Go Bye Bye".
rating
Disco Volante is described in various online magazines as the strangest and darkest album of the band and occasionally declared one of the most important releases of the 1990s. This view is shared by Geoffrey Himes of the Washington Post , who reviewed Disco Volante for the online mail order company amazon.com : “ [o] ne of the most uncompromising and adventurous major label releases of the '90s ” (German: “one of the most uncompromising and most adventurous major label releases of the 90s ”). Greg Prato describes the album on allmusic as the musical equivalent of a David Lynch film.
“On its uncompromising second release, Disco Volante , the group focuses its sound a bit more than on its 1991 self-titled debut but still keeps things unruly and completely unpredictable. [...] What they've created in the process is a totally original and new musical style and an album that sounds like nothing that currently exists. "
“On their uncompromising second release, Disco Volante , the band pursues a slightly more focused sound than on their self-titled debut from 1991, but remains unruly and completely unpredictable. [...] What they have created in this process is a completely original and new style of music and an album that sounds like nothing that currently exists. "
By the Editors of laut.de was DiscoVolante on the list of milestones received in music history. In the accompanying review, the album was described as disturbing even by Mr. Bungle standards, but at the same time innovative and unique.
Popular bands from different genre areas such as the prog rockers Oceansize , the mathcore bands The Dillinger Escape Plan and Between the Buried and Me or the alternative metal band Incubus named Mr. Bungle and Disco Volante as important musical influences.
Due to the record company's refusal to distribute the album on the European market and the already low publicity, Disco Volante was hardly discussed in German magazines. The website of the EMP magazine titled Disco Volante as "one of the most important and groundbreaking releases in the career of Mike Patton". Wolf Kampmann awarded the album 12 out of 12 possible points in Visions magazine in 1996 and highlighted the artistic value in comparison to Pattons and Spruance's band Faith No More. Carsten la Tendresse also emphasized the importance of Disco Volante in his review of the successor work :
“'Disco Volante' was the chunk of the millennium, the ultimate Sturm-und-Drang statement from a collective of people who live, breathe, dissect, shredded music far beyond the limit. A spastic fireworks display between noise, metal, pop, Adriano Celentano and mass murder. For me personally and for many other people with a short recording range one of the best records of all time. "
Individual evidence
- ↑ a b Wolf Kampmann: visions.de November 30, 1999 (accessed on May 12, 2010)
- ↑ a b Geoffrey Himes review of Disco Volante (accessed June 15, 2010)
- ↑ a b c d e f Heifetz in an interview ( memento from January 9, 2013 in the Internet Archive ) (accessed on May 12, 2010)
- ↑ a b c d e f g h Homepage of Trevor Dunn (accessed on May 12, 2010)
- ↑ a b c d e f g h Interview with Spruance (accessed on May 12, 2010)
- ↑ Billy Anderson Disco. billyanderson.net, archived from the original on May 1, 2012 ; Retrieved May 12, 2010 .
- ↑ a b billy anderson interview. Deaf Sparrows, archived from the original on January 30, 2013 ; Retrieved May 12, 2010 .
- ↑ a b c d Disco Volante on the Babyblauen Seiten (accessed on May 12, 2010)
- ↑ a b c d e f g h Disco Volante on SputnikMusic.com (accessed on May 12, 2010)
- ↑ a b c d e f g h i j k l m n Bungle Fever FAQ (accessed on May 12, 2010)
- ↑ a b c Disco Volante on AllMusic; Retrieved May 12, 2010
- ^ Translation of the term (accessed on May 12, 2010)
- ↑ Il Disco Volante in the Internet Movie Database (English)
- ↑ Thunderball in the IMDb
- ↑ Recording of an early live performance (accessed on August 27, 2013)
- ↑ Interview with Spruance (accessed on May 12, 2010)
- ↑ Patton on laut.de; Retrieved May 12, 2010
- ↑ a b c d fansite about the work of Mike Patton ( memento of August 24, 2004 in the Internet Archive ) (accessed on May 12, 2010)
- ↑ a b c d e Disco Volante on Discogs; Retrieved May 12, 2010
- ↑ a b c d information in the album booklet
- ↑ Disco Volante on Guts of Darkness; Retrieved May 12, 2010
- ↑ Animal rights page about the Miami Seaquarium ( memento of the original from April 16, 2010 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on May 12, 2010)
- ↑ The National Geographic Pictures, p. 492
- ↑ The poster without inscriptions (accessed on May 12, 2010)
- ↑ Danny Heifetz in an interview with Stalkers and Star Trek (accessed on June 9, 2010)
- ↑ Mr.Bungle in Billboard magazine. Retrieved August 28, 2013.
- ↑ a b c d Rivers: Entrevistas: Interview: Trey Spruance. reyporundia, archived from the original on September 2, 2011 ; Retrieved May 20, 2010 .
- ↑ Theo Lengyl biography on oocities.com (accessed June 24, 2010)
- ↑ a b c d Disco Volante on Progarchives (accessed on August 27, 2013)
- ↑ Label information about Mike Patton (accessed May 12, 2010)
- ↑ a b Disco Volante in Stylus Magazine (accessed May 12, 2010)
- ^ Wesley Joost: My People Are Poor. sonic.net, archived from the original on February 25, 2012 ; Retrieved May 12, 2010 .
- ↑ a b Spruance in an interview ( Memento from February 7, 2009 in the Internet Archive ) (accessed on May 12, 2010)
- ↑ Mr. Bungle ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. on Intro.de; Retrieved May 12, 2010
- ↑ a b Review of Satan Stole My Teddy-Bear ( Memento from August 28, 2008 in the Internet Archive ) (accessed on May 12, 2010)
- ↑ Gil Bieler: "Disco Volante" by Mr. Bungle. laut.de , accessed on November 2, 2015 .
- ↑ Oceansize in an interview with HellDriver (accessed June 15, 2010)
- ↑ BtBaM in an interview with Vampster (accessed June 15, 2010)
- ↑ Don Zulaica: liveDaily Interview: Brandon Boyd of Incubus. Live Daily, archived from the original on February 19, 2009 ; Retrieved June 16, 2010 .
- ↑ Disco Volante in the EMP ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. Retrieved May 24, 2010
- ↑ California on visions.de, accessed on June 15, 2010
