Lynch’s career is inundated with singular musical moments that have given birth to pioneering explorations. “That was a real problem on that tour,” he says. Trent Reznor, meanwhile, recalls delaying Nine Inch Nails gigs in the early ’90s so that he and his band could tune in to “Twin Peaks” in real time. “Everyone we knew watched it religiously, and if you didn’t watch it, we didn’t like you,” testifies the Flaming Lips’ Wayne Coyne, who took part in a concert celebrating the director’s musical legacy alongside Lykke Li, Sky Ferreira, and others last year. “Twin Peaks” impacted an entire generation of music makers in profound ways. “So much came out of the music that made the mood and the place and the feeling of the show come to life.” In fact, Badalamenti will perform music from the show at this weekend’s Festival of Disruption, a two-day event in Los Angeles curated by Lynch and featuring musicians including St. “The music of ‘Twin Peaks’ was integral to the experience,” Lynch tells me. It’s something the auteur is still proud of to this day. It’s inconceivable to separate Lynch and composer Angelo Badalamenti’s euphoric and amorphous score-along with Julee Cruise’s floating vocals, which glide so delicately they feel like a draft gently creeping in through a cracked window-with the show’s cinematic and narrative world. And across the last four decades he has also contributed to several music projects as a lyricist, producer, director, guitar player, and keyboard player.īut perhaps none of Lynch’s musical endeavors has had the impact and longevity of “Twin Peaks,” the skewed soap opera he created with Mark Frost in 1990 and which will be returning to TV screens next year. By 2006, Lynch had started to sing his own compositions, as with Inland Empire’s “ Ghost of Love.” Though he hasn’t released a proper film in the last 10 years, he’s continued his work as a solo artist with the release of two albums under his own name, 2011’s Crazy Clown Time and 2013’s The Big Dream. For his debut feature, 1977’s Eraserhead, he worked on the sound design with collaborator Alan Splet for more than a year, tinkering with unorthodox foley techniques and producing dark ambient sounds full of static hiss, convulsing gargles, and eerie clangs, as well as writing the lyrics for “ In Heaven (Lady in the Radiator Song)” as performed by Peter Ivers on the soundtrack. Lynch’s musical experiments have always gone right alongside visual work. Music is not merely an accompaniment or garnish-it plants itself deep into the narrative, revealing themes, building characters, and ultimately guiding the subconscious to parts unknown. In his films, soundscapes give sense to strange dream worlds filled with red velvet curtains, the churn and soot of industry, split personalities, and piping hot cups of coffee. Music shapes the cinematic vision of David Lynch in ways that go far beyond the simple marriage of song and image.
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