[[caption-width-right:300: I hear you guys like GenreRoulette.]]

Mr. Bungle was an experimental band from Northern California. The band was formed in 1985 while the members were still in high school and was named after a children's educational film regarding bad habits which was featured in a Pee Wee Herman HBO special in the early '80s. Mr. Bungle released four demo tapes in the mid-to-late 1980's before being signed to Creator/WarnerBrosRecords and releasing three full length studio albums between 1991 and 1999. The band toured in 2000 to support their last album, but in 2004 they disbanded. Although Mr. Bungle went through several line-up changes early in their career, the longest serving members were vocalist Music/MikePatton, guitarist Trey Spruance, bassist Trevor Dunn, saxophonist Clinton "Bar" [=Mc=]Kinnon, and drummer Danny Heifetz.

Mr. Bungle frequently incorporated unconventional instruments into their music, including tenor sax, jaw harp, cimbalom, xylophone, glockenspiel, clarinet, ocarina, piano, organ, bongos, and woodblocks. Overlying this were Mike Patton's vocals, which often used death metal growls, crooning, rapping, screeching, gurgling, or whispering. The arrangement of their songs was also idiosyncratic, often lacking a structured song format and rotating through different genres ranging from slow melodies to thrash metal. ''New York Times'' journalist Jon Pareles described it as music that "leaps from tempo to tempo, key to key, style to style, all without warning." Some of the genres they utilized include {{Funk}}, Free {{Jazz}}, SurfRock, PunkRock, HeavyMetal, Klezmer, {{Ska}}, Kecak, Avant-Jazz, FolkMusic, NoiseRock, {{Pop}}, Doo-Wop, FunkMetal, ElectronicMusic, Swing, space-age pop and exotica, DeathMetal, {{Rockabilly}}, Bossa Nova, ProgressiveRock, [[CountryMusic Country and Western]], circus music, and even video game and cartoon music.

Their discography is as follows:
* ''The Raging Wrath of the Easter Bunny'' (1986, Demo)
* ''Bowel of Chiley'' (1987, Demo)
* ''Goddammit, I Love America!'' (1988, Demo)
* ''OU818'' (1989, Demo)
* ''Mr. Bungle'' (1991)
* ''Disco volante'' (1995)
* ''California'' (1999)

[[NamesTheSame Not to be confused with]] the puppet who didn't wash his hands in the ''Beginning Responsibility: Lunchroom Manners'' short parodied by Podcast/RiffTrax.[[note]]Though that ''is'' where they got their name, and a clip of the short appears as SpokenWordInMusic at the end of "Love Is a Fist"[[/note]]

!!Tropes associated with Mr. Bungle:

* AltumVidetur: "Ars moriendi" translates as "The Art of Dying".
* BitingTheHandHumor: "Carousel" includes the lyric "Will [[Creator/WarnerBrosRecords Warner Brothers]] put this record on the shelf?". It's uncertain whether their SelfTitledAlbum was actually in danger of becoming a MissingEpisode, but they apparently felt they had to resort to GettingCrapPastTheRadar with that lyric, as the album's liner notes don't include it in print, substituting part of "Look at Me, I'm Sandra Dee" from ''{{Film/Grease}}'' instead.
* CarefulWithThatAxe: "The Bends" ends with this, as does "Goodbye Sober Day".
* ClusterFBomb / PrecisionFStrike: Their lyrics are pretty salty.
* CoincidenceMagnet / WeirdnessMagnet: While mixing their debut album, a friend gave Trevor Dunn a copy of the porn starring a character named "Mr. Bungle," bizarrely containing the same name as their band's and the short that inspired it. Further, they HAD a song about porn on the album ("Girls of Porn"), and a sample of the short already elsewhere on the album. A sample from the porn was immediately decided to be put on the beginning of "Girls".
* CreditsGag: The inside liner notes to ''Disco volante'' credit Danny Heifetz and Theo Lengyel with writing "Nothing", which is a track title that doesn't appear anywhere else on the packaging. Some fans assumed this meant that the noisy jamming at the end of "Merry Go Bye Bye"[[note]]see ThrowItIn[[/note]] was officially titled "Nothing". However, the credit was just intended as a joke about the fact that neither Heifetz or Lengyel contributed to the songwriting on that particular album.
** Also in the ''Disco volante'' liner notes, Danny Heifetz is credited with playing "a woodblock" under the pseudonym "I Quit". In [[http://www.westnet.com/consumable/1999/07.29/intbungl.html an interview]], he explained "I wasn't a very happy person back then. Plus I played the fuck out of that woodblock".
* CreepyCircusMusic: One of the numerous genres they explore. Songs in this style are usually circus-themed in some way ("Carousel," "Merry Go-Bye-Bye").
* ADateWithRosiePalms: "The Girls of Porn."
* EpicRocking: Many of their songs are quite long. The longest on their three studio albums are "Egg" (10:39), "Dead Goon" (10:02), and "The Bends" (10:28). "Merry Go Bye Bye" could be considered to qualify if counted as one song with the HiddenTrack (12:58; the song itself is about 6:24 and its hidden track is about 5:37).
* [[AvantGardeMetal Experimental Metal]]: Unquestionably on their first demo and first two full-lengths, but elements are present throughout their career.
* FadingIntoTheNextSong: The whole first album, most of the songs on the second, and "None of Them Knew They Were Robots" into "Retrovertigo" on the third.
* FakeBand: Zigzagged. Although always a real band, they initially tried to present themselves as such, with fake names listed on the album for the band members and shows played in costume.
* FakeoutFadeout: "Egg" ends with a repetitive heavy outro, culminating in two of these. The second is especially unexpected, seemingly ad-libbed by the band in-studio, cracking up and stopping halfway through.
* FamousAncestor: Danny Heifetz's grandfather is violin virtuoso Jascha Heifetz.
* GenreRoulette: To levels only matched by a handful of other artists (Music/FrankZappa, Music/JohnZorn, Music/GentleGiant, and Music/{{Sigh}} are good examples).
* GenreShift: The band was originally a straight up DeathMetal band. By the time they signed and recorded their first album, the Death Metal background is only heard in small snippets of their GenreRoulette style.
* GratuitousItalian: ''Disco volante'' translates as ''Flying Saucer'', while "Violenza domestica" translates as "Domestic Violence".
* HiddenTrack: The appropriately-titled "Secret Song" is unlisted on ''Disco volante'', appearing on the same track as "Carry Stress in the Jaw". The LP version has "Secret Song" on a double groove with "Carry Stress in the Jaw", meaning you have to place the needle on the record a certain way to hear it. Also notable for Trevor Dunn [[StepUpToTheMicrophone stepping up to the microphone]] to sing [[BreakingTheFourthWall fourth-wall-breaking lyrics]] about how the rest of the band kept the song a secret from ''him'' and didn't let him play on it. [[note]] Which is actually true; he added his vocals after stumbling upon the recording[[/note]].
* {{Instrumentals}}: "Chemical Marriage", "The Bends"
* LastNoteNightmare:
** "The Bends," "Goodbye Sober Day," and "My Ass Is on Fire."
** Though not outright scary, the FakeoutFadeout of "Ma Meeshka Mow Skwoz" is a trifle startling: The song fades out, then after a few seconds of silence, the music suddenly comes back in much louder, with Mike Patton doing some rather suggestive grunting over it.
** "Pink Cigarette", otherwise a SurprisinglyGentleSong of theirs, has the steady beep of a heart monitor enter the mix near the end of the song - the music and lyrics are suddenly interrupted by the heart monitor flat-lining. It doesn't help that up to that point, the lyrics had been counting down the hours "until you find me dead".
* LyricalDissonance:
** "Stubb (A Dub)": Crazed circus mambo metal with lyrics about a dying dog.
** "Squeeze Me Macaroni" and "The Girls of Porn": Upbeat funk metal with ''ridiculously'' explicit lyrics.
** "Pink Cigarette": Smooth Soul Pop about suicide
* ManOfAThousandVoices: Mike Patton. It's perhaps worth noting that his vocal range is [[http://www.vintagevinylnews.com/2014/05/digging-deeper-axl-rose-is-not-singer.html considered to be the highest on record]], being three whole notes past the singer with the second-highest range ([[Music/{{Slipknot}} Corey Taylor]]).
* MohsScaleOfRockAndMetalHardness: Anything from a 1 to an 11, usually in the same song, to the point it's impossible to classify them.
* MoodWhiplash: On the first album there is a song, called "The Girls of Porn", which makes fun of the porn industry and how it's gotten increasingly extreme, then the album ends with "Dead Goon", a disturbing song about a kid who dies during a session of auto-erotic asphyxiation and how his family finds him, and the song seems sympathetic.
* NeoclassicalPunkZydecoRockabilly
* NewSoundAlbum: For a group that has basically made their entire career out of jumping through styles at random, they still bizarrely managed to pull this off:
** ''Mr. Bungle'': incorporates an array of different styles, but mostly sticks to ska, funk, and thrash metal, and features a decent amount of hooks and choruses.
** ''Disco volante'': a truly avant-garde set wherin practically every minute sounds completely different from the next.
** ''California'': has much of the same jarring eclecticism as ''Disco volante'', but is heavily influenced by pop from the 50's and 60's, and much like their self-titled debut, has plenty of catchier elements.
* NoCelebritiesWereHarmed: The title of "Quote Unquote" was originally "[[Creator/JohnTravolta Travolta]]." Warner, afraid of a lawsuit, asked that they change it. The result was them taking out the name and leaving the quotes, which were then spelled out. It should be pointed out that Travolta's name is still spoken in the song (as is Creator/PatrickSwayze's).
* RearrangeTheSong: While touring ''California,'' they started playing a significantly altered version of "My Ass Is on Fire:" drum-n-bass loops and sections of wordless chanting were added, while much of the funk metal feel was gone, and the OverlyLongGag ending was skipped entirely. Their live sets otherwise always stuck to songs from whatever their current album was, rounded out with cover songs -- they must have decided that if they ''were'' going to start playing an old song again, they should try to make it interesting.
* {{Retraux}}: A subtle example -- ''California'' was recorded on analog equipment, rather than digitally, in order to give it a sound more akin to music from the '50s and '60s, which the album sonically nods towards.
* RefugeInAudacity: Both musically and lyrically - see the ridiculously explicit lyrics of "The Girls of Porn" for perhaps the best lyrical example.
* RumpRoast: "My Ass Is on Fire."
* RougeAnglesOfSatin: Deliberately invoked by the title of their early demo ''Bowel of Chiley.'' When an unsanctioned re-release of the demo came out, it was mistakenly "corrected" into ''Bowl of Chiley.''
* {{Sampling}}: The first album samples oddities such as video games, children's television programming, and porn. Most of the samples occur in between songs.
* SequelSong: "Sleep (Part II): Carry Stress in the Jaw" and "Sleep (Part III): Phlegmatics" are meant to be part of a ThematicSeries that they started with "Slowly Growing Deaf," each with lyrics which play physical ailments for BodyHorror. The reason "Slowly Growing Deaf" isn't explicitly labeled "Sleep (Part I)" is that Trevor Dunn, who wrote the lyrics for the three songs, didn't initially set out to have a trilogy when he wrote it.
* SiameseTwinSongs: Most of the songs on the first album are connected this way with samples.
* SingingSimlish: Happens from time to time, particularly in ''Disco volante'' with "Ma Meeshka Mow Skwoz" and "Chemical Marriage."
* {{Spoonerism}}: A bootlegged video of an early high school talent show performance has the band playing in front of a banner reading "Bister Mungle."
* SurrealHorror: The musical equivalent.
* StylisticSuck: "Everyone I Went to High School with Is Dead" was intentionally made to be an uncatchy, unlistenable track. It's the ''lead off'' track of their second album.
* SurprisinglyGentleSong: Several examples from ''California:''
** The first half of "Retrovertigo," which could almost be called a PowerBallad.
** "Sweet Charity," "Vanity Fair," and "Pink Cigarette" -- all three have moments that could be described as vaguely "sinister," but have nowhere near the amount of heaviness or bizarre left turns you'd otherwise expect from the band.
** "The Holy Filament" could possibly be the most gentle song they've ever done. While its middle section has some ominous sounds thrown in, the track on a whole is pretty pleasant to listen to.
* UncommonTime: They have a few examples. "Egg" has a rather prominent section in 7/4. "Love Is a Fist" contains sections in 7/4 and 11/8. "Slowly Growing Deaf" features a riff in 5/4. This undoubtedly isn't all.