“But Angelo, the most important thing is, I’m gonna need some music that’s gonna tear the hearts out of people.”

•June 16, 2017 • Leave a Comment

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Playlists for The Double R Club‘s 8th Annual Miss Twin Peaks Contest, 15th June, 2017

P R E – S H O W :

[ in-house Twin Peaks ambient montage comprising ‘Half Speed Orchestra 4 (Dugpas)’, ‘Slow Speed Orchestra 2 (Unease Motif / The Woods)’, ‘Half Speed Orchestra 2 (Dark Forces)’, ‘Half Speed Orchestra 1 (Stair Music / Danger Theme)’, ‘Back To Fat Trout (Unease Motif / The Woods)’, ‘Teresa’s Autopsy’, ‘It’s Your Father’ and ‘The Red Room’ all from The Twin Peaks Archive ]

‘The Bookhouse Boys’ – Angelo Badalamenti, from Music From Twins Peaks
‘Audrey’s Dance’ – Xiu Xiu, from … Xiu Xiu Plays The Music Of Twin Peaks
‘Freshly Squeezed (Fast Cool Jazz Version)’ – Angelo Badalamenti, downloaded from davidlynch.com

[ audio / sound design from Twin Peaks: The Return ]

‘Shadow’ – Chromatics, from Dear Tommy
‘Audrey’ (TV Version) – Angelo Badalamenti, downloaded from davidlynch.com
‘Dance Of The Dream Man’ – The Astronaut Arcade & Who Ha & Lucy Black, from The Next Peak Vol I
‘Falling’  – Chrysta Bell, free download HERE
‘Audrey’s Dance, Epilogue’ – Bookhouse, from Ghostwood

[ audio / sound design from Twin Peaks: The Return ]

‘American Woman’ – Muddy Magnolias (David Lynch remix)
‘Solo Percussion 1’ – Angelo Badalamenti, downloaded from davidlynch.com
‘Horne’s Theme’ – Angelo Badalamenti, downloaded from davidlynch.com
‘Mississippi’ – The Cactus Blossoms, from You’re Dreaming

I N T E R V A L :

‘Snake Eyes’ – Trouble, from Snake Eyes
‘Smoking Beagles’ – Sub Sub (feat. Tricky), from the Smoking Beagles EP
‘Habit’ – Uniform, from Wake In Fright

[ ‘An Angel In A Sycamore’ (edit): in-house ‘mash up’ of ‘The Black Dog Runs At Night’, ‘The Pink Room’ and ‘Sycamore Trees’, from the Fire Walk With Me O.S.T., ‘Blue Frank’, from Twin Peaks Season Two Music And More, and dialogue from Fire Walk With Me -listen to the full version HERE ]

‘Blue Frank’ – Bookhouse, from the album Ghostwood, buy HERE


My first act was to ‘Miss America!’ by Johnny Desmond, from Yours In Song -with added samples from Mulholland Drive. My second act was a version of ‘Happiness’ by Tones On Tail, the original version of which appears on their album Pop.

“Listen to the sounds” – On The Expanding Musical Palette Of David Lynch

•June 6, 2017 • Leave a Comment


In which your humble narrator (perhaps in an exercise in procrastination when he should in fact be rehearsing / learning lines etc.) seeks to detail, at least in some relatively superficial way, the soundwork of David Lynch, the burgeoning sonic arsenal thereof, and invites the reader to “taste the rainbow” WITH YOUR EARS.

The sound and music in Lynch’s film work begins, of course, with the looped, piercing sirens of Six Men Getting Sick (1966), before moving on to the Musique concrète sounds of The Alphabet (1968) and The Grandmother (1970).  Though it was with the immense, groundbreaking and vertiginous industrial score to Eraserhead (1977) that Lynch and Alan R. Splet seem to have truly created the first rung on the sonic ladder to the Lynchian sound we all know today.

Some of Lynch’s subsequent work is accompanied by more conventional music, or at least scores that he seems to have had little or no influence on, including the often haunting soundtrack to The Elephant Man by John Morris, and Dune‘s arguably underrated score (a few somewhat cringey guitar solos notwithstanding) by Brian Eno & Toto; additionally The Straight Story‘s more traditional, plaintive score by Lynch stalwart Badalamenti seems a little outside of the director’s usual worlds, as indeed to a large extent does the film itself.

But it was Lynch’s meeting with Angelo Badalamenti while making Blue Velvet that truly catapulted him into the sonic worlds we largely know him for today.

“Angelo [Badalamenti] really brought me into the world of music, right into the middle of it… I never got deep into working with a composer and having that experience of being able to fall into the world of music, and Angelo invited me into that world, and encouraged it, and many great experiences have come out of that.”

The Blue Velvet score is often somewhat traditional and clearly influenced by film noir, but there are Lynchian gems within; the re-purposing of old songs (as in the title track, Ketty Lester’s incredible ‘Love Letters‘, not to mention the memorable  and unsettling use of Orbison’s ‘In Dreams‘). There are some moments of Musique concrète in the sound design, the drones and tones that Lynch would become known for and some of which, interestingly, makes it onto the soundtrack album on ‘Lumberton U.S.A. / Going Down To Lincoln – Sound Effects Suite’.

Lynch’s meeting with Badalamenti lead to their song writing partnership and to the Julee Cruise albums Floating Into The Night and The Voice Of Love, not to mention the now legendary soundtrack to Twin Peaks; but more than that, their partnership seemed set in stone from then on and lo, the Lynchian palette of sounds as we know it today, did begin to grow…

So, what’s in the Lynchian sound palette as things stand, and where did it first make an appearance?

Stepping gingerly over the beautifully rendered industrial rumbles and drones of Eraserhead (clearly the progeny of his early short films) I’d say the next string to his musical bow would be those vintage songs from the 50s and 60s, those songs of heartbreak and/or teenage love that have found their way into everything from Blue Velvet‘s titular track to Mulholland Drive‘s ‘I’ve Told Every Little Star‘; recontextualized by Lynch, these songs gain an added depth and strangeness.

Besides these forlorn ballads of lost love or innocent romance, Rock & Roll clearly had a massive influence on the young Lynch: “I’ve loved music always, and my music fire was lit by Elvis Presley, really, and all that was happening back then” and this love is evident in Wild at Heart‘s inclusion of Gene Vincent’s ‘Be-Bop A Lula‘ and Them’s rendition of ‘Baby Please Don’t Go’, not to mention Sailor’s obsession with the songs of Elvis. but it is in Wild at Heart that we are slapped in the face with perhaps the first of Lynch’s truly unexpected musical additions, that of speed metal band Powermad’s ‘Slaughterhouse’. I mean, Lynch fans up til then might have been forgiven for asking what in the wide, wide world of sports was going on.

This brash and violent departure from Lynch’s usual sonic M.O. (“modus operandi!“) may have seemed jarring at the time but it is then echoed from time to time throughout the years, with the addition of Rammstein and others to Lost Highway, all the way up to chaotic industrial/noise/metal outfit Uniform’s inclusion, blaring from a bad man’s black car in episode 5 of Twin Peaks: The Return (itself an echo of Chris Isaak’s ‘Gone Ridin’‘ from Blue Velvet) the lesson here seems to be: just when you think you know where he’s going Lynch will inevitably throw you a curve-ball… that may cauterize your auditory nerve.

Even in the world of Twin Peaks, which, (for its first 2 seasons at least -Où est Badalamenti in season 3?) largely sticks to it’s dreamy synth-strings, twangy guitars and dark, jazz stylings, in Fire Walk With Me another curve-ball arrived in the shape of Thought Gang’s Tom Waits-ian stomp ‘A Real Indication‘; in a town like Twin Peaks, no ear is safe.

When Lynch began to make his own music with 2001’s Blue Bob, rock was very much the order of the day, albeit with light industrial stylings sprinkled over the top; however with 2006’s ‘Ghost of Love’ and ‘Walkin’ on the Sky’, Lynch’s gear had shifted into a more dark and dreamy nature, further deepened on his debut solo album Crazy Clown Time, where the order of the day is a kind of pitch-black dream-pop-rock, oddly out of time, like the blues played some reclusive denizen of “another place”.

His collaborations with Chrysta Bell (first heard on ‘Polish Poem‘ in Inland Empire) on albums such as This Train, delve further into dream-pop and in which smatterings of electronica begin to creep in. Which I think leads us pretty much up to date with the synth heavy song used to end the ‘pilot’ (eps. 1&2) of Twin Peaks: The Return, Chromatic’s ‘Shadow‘, a continuation of the dream-pop direction, though also perhaps a reflection of those mournful teenage ballads of the 50s:

“At night I’m driving in your car,
Pretending that we’ll leave this town,
We’re watching all the street lights fade,
And now you’re just a stranger’s dream…”

So. What have we learned from all this jibber-jabber, neighbours? That I’ll do anything to put off learning lines and rehearsing songs? Perhaps. That Lynch’s sonic worlds are ever changing, mutating,  E V O L V I N G ?

EVOLUTION OF THE ARM“I am the arm, and I sound like this”

Yeah, that’ll do.

“Is it future, or is it past?”

•May 27, 2017 • Leave a Comment

Behold,  D R E A M S  of that which was, in preparation for that which shall be…

Visions of last year’s Mr. Twin Peaks Contest from The Double R Club,  presage this year’s, nay,  n e x t   m o n t h ‘ s ,  8th annual Miss Twin Peaks Contest!

June 15th, “write it in your diary.”

TICKETS to “a gathering of angels.”

“It all cannot be said aloud now.”

•May 26, 2017 • Leave a Comment

Kyle MacLachlan in a still from Twin Peaks. Photo: Suzanne Tenner/SHOWTIME

So, with the advent of the new series of Twin Peaks, I had pondered on whether to do a weekly post about each episode, but of course people watch television so differently these days,  seldom on the same day, and so the possibility of spoilers makes this an issue. Maybe I’ll do so later in the season when we’re all firmly entrenched.

But in the meantime, new Twin Peaks has once again brought to my attention the way certain fans yearn with such frenzy to explain everything down to the smallest detail and to tie up every last mystery with a bow. Of course anyone is free to deconstruct and critique to their heart’s content, but I’ve never understood this attitude when it came to the work of Lynch, and while thinking about this phenomenon, an analogy sprang to mind:

Not every Picasso is a jigsaw puzzle of the Mona Lisa.




“Music is such a thrilling world.”

•May 19, 2017 • Leave a Comment



Playlists for The Double R Club, 18th May, 2017

P R E – S H O W :

‘Nightwolf’ – Bohren & der Club of Gore, from Sunset Mission
‘Akron Meets The Blues’ – Angelo Badalamenti, from Blue Velvet O.S.T.
‘Disobedience’ – Pig, from Don’t Blow Your Cover – A Tribute To Kmfdm
‘Questions In A World Of Blue’ – Julee Cruise, from the album The Voice Of Love
‘Big Spender’- Gemma Ray, from It’s A Shame About Gemma Ray
‘222’ – Kid Congo & The Pink Monkey Birds, from Haunted Head
‘The Beast’ – Milt Buckner, from Mulholland Drive O.S.T.
‘A Girl Got A Car Accident’ – The Henry Chinaski’s Ashtray, from Don’t Pee On My Indian Carpet, download FREE here
‘Love’s Secret Domain’ – The Guitaraculas, from the album Two Bottles Of Blood
‘Unprepared Piano’ – Coil, from Black Light District

[sound design and dialogue from Mulholland Drive]

‘In Heaven (Lady In The Radiator Song) (Live)’ – Bauhaus, from Rest in Peace: The Final Concert
‘Speed Roadster’ –  David Lynch, from Crazy Clown Time
‘Police’ – Angelo Badalamenti, from Lost Highway O.S.T.
‘Switch’ – Amon Tobin, from Permutation
‘Warped Span’ – JG Thirlwell, from The Venture Bros. The Music Of JG Thirlwell
‘Up In Flames’ – Sick Tree, listen HERE

I N T E R V A L :

‘All American Happy Hour’ – Alexander Hacke, from Sanctuary
‘Aly, Walk With Me’ – The Raveonettes, from Lust, Lust, Lust
Cruisin’ For A Bruisin’ (Bacteria Bitch Mix) -RR edit- Nurse with Wound (original version from Terms and Conditions Apply)
‘Dangler’ – Laddio Bolocko, from The Life and Times of Laddio Bolocko


My first act was to ‘Blue Star’ by Linda Scott, from The Complete Hits Of Linda Scott -with added sound design and samples from Blue Velvet and featuring Isabella Rossellini. My second act was a version of ‘Shake That Devil’ by Antony & the Johnsons, the original version of which appears on their Another World EP.

“I haven’t been this excited since I punctured Caroline’s aorta”

•May 14, 2017 • Leave a Comment


So, to quote Frank Booth: “THIS IS IT,” it’s really happening. Again.

When we started The Double R Club way, way back in 2009, at the time it had been two years since the last Lynch film and who knew when we’d get another? As time crept on and he drifted towards music as his principle outlet, it seemed that we may never get another; and the idea of more TV from Lynch? So unlikely as to be absurd, and the idea of new Twin Peaks? Downright  i n s a n e .

It seemed that he would never get behind another camera, but now here we are. Ridiculous. Unprecedented. Terrifying. Wonderful. Strange. I’ll admit I’ve gone back and forth on whether new Twin Peaks was even a good idea (can you ever go back? Should you even try?) but with Lynch firmly in the driving seat (after a certain period of worry) I approach new Peaks with less (if not zero) trepidation, and more and more, as the day grows closer, with downright feverish and maddening excitement.

Chief among my reservations is that of my dislike of the, to my mind, distinctly un-Peaksian, flying-saucer-fest and conspiracy theory heavy X-Files-a-like-ness of Mark Frost’s The Secret History Of Twin Peaks; but with reports that the new series is “dark” and with Kyle MacLachlan’s hyperbolic description of it being “Like something you’ve never, ever seen on television, I don’t think in film either, this is gonna be earth-shattering,” not to mention Lynch’s statement that Fire Walk With Me will be “very much important” to season 3, well… ok, I’m in,  L E T ‘ S   R O C K.

But, y’know, no rush David. Finish your donut first; meanwhile all Peakies’ nerves slowly fray, time seeming to slow to a crawl…



Forgotten Dream of Reptiles & Felines

•April 27, 2017 • Leave a Comment



Dream, 2014: My wife and I were watching large lizards eat live cats. As they were eaten, the cats were perfectly placid. As they ate, the lizards were screaming.