{"id":25020,"date":"2024-08-24T01:10:27","date_gmt":"2024-08-24T01:10:27","guid":{"rendered":"https:\/\/skylight.gr\/?p=25020"},"modified":"2024-08-24T01:13:50","modified_gmt":"2024-08-24T01:13:50","slug":"dunstan-bruce-beyond-the-chumbawamba-going-solo","status":"publish","type":"post","link":"https:\/\/skylight.gr\/index.php\/2024\/08\/24\/dunstan-bruce-beyond-the-chumbawamba-going-solo\/","title":{"rendered":"Dunstan Bruce – Beyond the Chumbawamba, going solo!"},"content":{"rendered":"\n

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?<\/strong><\/p>\n\n\n\n

Punk, for me, has never, ever been about a particular style of music. I\u2019m not even interested in what is or isn\u2019t punk. It\u2019s a pointless exercise. It\u2019s meaningless. Who decides what is punk? No one. And if they do; well, fuck them. That\u2019s bullshit. I\u2019m 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.<\/p>\n\n\n\n

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?<\/strong><\/p>\n\n\n\n

Jimi and Tarn are remarkably talented creatives. They\u2019re mavericks and outsiders and out of the box thinkers and ridiculously motivated and enterprising. There should be more Jimi and Tarn\u2019s in this world. They are artists. That\u2019s what attracted me to this project. Don\u2019t get me wrong; they drive me mad too but that friction pushes us on. This song is so fucking zeitgeisty it\u2019s unreal. The idea and the project is irresistible.<\/p>\n\n\n\n

3. \u201cFucking Expensive\u201d 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?<\/strong><\/p>\n\n\n\n

It\u2019s 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\u2019m saying \u201cFuck that\u201d. We don\u2019t exist in this world to make money. That\u2019s not the reason we\u2019re here. It\u2019s a red herring. It\u2019s asking you to think about what you really value. I mean, really really value. I\u2019m saying that this is your one chance, your one opportunity, your one go at life; so don\u2019t wait; do it. Now!<\/p>\n\n\n\n

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”?<\/strong><\/p>\n\n\n\n

Firstly, who doesn\u2019t 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\u2019t 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\u2019t feel part of the system that has been created. From children to adults this way of life can be battle to survive. It\u2019s about numbers becoming meaningless to us. Once again it\u2019s saying \u201cfuck that\u201d.<\/p>\n\n\n\n

5. You recorded the new tracks in Brighton at Jake Shillingford\u2019s studio. How did this environment and your collaboration with Jake influence the recording process?<\/strong><\/p>\n\n\n\n

Jake is an absolute pleasure to work with. He\u2019s 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.<\/p>\n\n\n\n

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?<\/strong><\/p>\n\n\n\n

The constant is definitely wanting to say something that matters. That people can relate to. That moves you. I don\u2019t 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\u2019m totally post-punk edgy. I think what\u2019s important to me now is allowing everyone to express themselves artistically and hoping that everyone is enjoying the process. That it\u2019s meaningful and enjoyable as well as hard hitting and inspiring in some way.<\/p>\n\n\n\n

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?<\/strong><\/p>\n\n\n\n

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\u2019re on the same page. Even if we got there differently. Journalist Steven Wells said to be part of popular culture you\u2019ve got to be popular. I still abide by this. That approach is not for everyone I know. But it works for me.<\/p>\n\n\n\n

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