Dunstan Bruce – Beyond the Chumbawamba, going solo!

1. Your new single “Fucking Expensive” has been described as punk without guitars. Can you elaborate on how you maintain the punk spirit in this track despite its unconventional instrumentation?

Punk, for me, has never, ever been about a particular style of music. I’m not even interested in what is or isn’t punk. It’s a pointless exercise. It’s meaningless. Who decides what is punk? No one. And if they do; well, fuck them. That’s bullshit. I’m interested more in where the idea of punk and the idea of radicalism intersect. Where music challenges us to be open. Where we utilise ideas and push boundaries. But allow people in at the same time. I want to surprise as well as engage. Stuff like that.

2. How did collaborating with producers Tarn Willers and Jimi Ogden influence the final sound of “Fucking Expensive”? What did they bring to the table that you found particularly impactful?

Jimi and Tarn are remarkably talented creatives. They’re mavericks and outsiders and out of the box thinkers and ridiculously motivated and enterprising. There should be more Jimi and Tarn’s in this world. They are artists. That’s what attracted me to this project. Don’t get me wrong; they drive me mad too but that friction pushes us on. This song is so fucking zeitgeisty it’s unreal. The idea and the project is irresistible.

3. “Fucking Expensive” has been praised for its catchy nature and powerful message. What inspired the lyrical content of this song, and what message do you hope listeners take away from it?

It’s kinda counter-intuitive really. I see the song as a celebration of how we always find a way to connect, to enjoy, to revel in the good bits, to appreciate the moment, to simply be. In a world where every-fucking-thing is monetised I’m saying “Fuck that”. We don’t exist in this world to make money. That’s not the reason we’re here. It’s a red herring. It’s asking you to think about what you really value. I mean, really really value. I’m saying that this is your one chance, your one opportunity, your one go at life; so don’t wait; do it. Now!

4. The flipside of your single, “PIN Number,” also eschews traditional genre boundaries. Can you share a bit about the creative process behind this track and how it complements “Fucking Expensive”?

Firstly, who doesn’t love a list song? With neurological differences, the digital age and the focus on fitting in, along with the constant bombardment of the world constantly trying sell you things you don’t necessarily want or need, we are living in a world of numbers. “PIN Number” is a nod to the people who for many reasons don’t feel part of the system that has been created. From children to adults this way of life can be battle to survive. It’s about numbers becoming meaningless to us. Once again it’s saying “fuck that”.

5. You recorded the new tracks in Brighton at Jake Shillingford’s studio. How did this environment and your collaboration with Jake influence the recording process?

Jake is an absolute pleasure to work with. He’s one of the good eggs. He totally got what we were trying to do and positively embraced it. We bonded on what brought us together; what we had in common and that was a lot more than you might think. Jake encouraged me to have fun with the vocals. So we did. I loved the process.

6. Having been a prominent member of Chumbawamba and now embarking on a solo career, how has your approach to music evolved over the years? What remains constant in your creative process?

The constant is definitely wanting to say something that matters. That people can relate to. That moves you. I don’t want to waste time just saying words. Griff from Interrobang accuses me of loving a melody too much at times or having too much of a pop sensibility when I imagine I’m totally post-punk edgy. I think what’s important to me now is allowing everyone to express themselves artistically and hoping that everyone is enjoying the process. That it’s meaningful and enjoyable as well as hard hitting and inspiring in some way.

7. Chumbawamba was known for its political and social commentary. How do you see your new music, particularly “Fucking Expensive,” continuing that legacy of agitpop and anarchist punk?

Seems to pretty much be an extension of my past to me. I think that must be what drew me towards the project. I saw myself in it. Part of it. I thought that this could work; these are like-minded people. We’re on the same page. Even if we got there differently. Journalist Steven Wells said to be part of popular culture you’ve got to be popular. I still abide by this. That approach is not for everyone I know. But it works for me.

8. The new single is set for a July 26th release, including a limited edition 7” vinyl via Heavy Medication Records. How important is the physical release format to you in today’s digital age, and why did you choose to go this route?

I collect 7” singles myself. And albums too. On vinyl. It’s nostalgic. It does something viscerally when you put a record on a turntable. I love that experience, that moment, that feeling. I was delighted that we could release this on vinyl.

9. As both a musician and a filmmaker, how do your experiences in one medium influence your work in the other? Are there any specific aspects of filmmaking that have shaped your music or vice versa?

I think what I learnt more than anything is being on stage is my home. My place. My happy space. Where I feel most comfortable. Where I feel I truly express myself. Where I get to show off. I love being on stage with Griff and Interrobang more than anything. I love flitting from one project to the other and I love working with co-director Sophie Robinson on project after project because she is the bees knees and she constantly challenges me creatively. It’s wonderful and challenging and rewarding. But being on stage with Griff (and Sophie would actually agree!) is where I really shine.

10. Looking back at your time with Chumbawamba and now moving forward with your solo career and Interrobang, what do you consider your most significant achievements and challenges in the music industry?

Never giving up. Always wanting to move forward, always wanting to create something new, never being satisfied, always wanting to create despite all the obstacles, all the barriers, all the history.

Whilst embracing and appreciating the past I really really want to always be looking to the future. Because that way lies change and new horizons and new adventures.