Forgotten Dream of a Doppelgänger

•December 17, 2016 • Leave a Comment

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Bad dream, 2011: Something very bad was behind me. I couldn’t turn around and was trying to describe to someone what it was that was behind me; but the more I mimicked it in an attempt to explain it, the more I couldn’t stop and the more I was BECOMING it.

A Review From The Bookhouse…

•December 12, 2016 • Leave a Comment

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Ok, so it’s been a few days since I finished Mark Frost’s The Secret History Of Twin Peaks and I’ve been able to digest it.

The first thing to say is how beautiful the book is, from the embossed images on the cover and spine, to the multifaceted style of the interior, the faux inserts, newspaper clippings etc.; a truly lovely object to behold.

However, I wish I could say that I found the contents of the book itself half as appealing.

WARNING:

* H E R E   T H E R E   B E   S P O I L E R S *

My very first reaction (predisposed as I am to knee-jerk overreaction and hyperbole) was to say that it seemed, bizarrely, that Mark Frost didn’t understand Twin Peaks at all. My second, more measured, reaction was to realise that there might well be at least TWO Twin Peakses, and that this book didn’t really come within a country mile of MY Twin Peaks.

But to explain. ‘My’ Twin Peaks is all about the strange, dreamlike oddness that is revealed to exist below the surface of small town life, and which is revealed via Laura Palmer’s murder; the mystery of the red room, of BOB, of The Man From Another Place, a mystery that is at once rich, dark and beautiful, with its own skewed logic, and yet unexplainable (and in no need of specific or concrete context or explanation). Frost’s Twin Peaks, based on this book, seems to be all about flying bloody saucers.

For me, and barring mention of the eternally regrettable Evelyn Marsh affair (over which a veil should be forever drawn), the whole Major Briggs / flying saucer / Project Blue Book storyline was little more than misdirection (and should have remained so) being one of the least engaging red herrings of the series. For me aliens and alien abductions have no more place in Twin Peaks than actors looking anything other than shame-faced, embarrassed and bored had any place in the recent stomach-churningly awful series of The X-Files.

And it is The X-Files that this book has most in common with. We’re ‘treated’ in the book to flying saucers, lights in the sky, government cover ups, conspiracy theories, area 51, Roswell and so on and so on.

Guest appearances include President Nixon, Aleister Crowley, L. Ron Hubbard, Jackie Gleason, the list goes on, linking Twin Peaks to so many major world figures and events that it begins to read like outtakes from the execrable Forrest Gump.

The book is framed as a discovered dossier written by the mysterious ‘archivist’ and with investigatory notes by an FBI agent whose full name is redacted but whose initials are T.P. (yes, really). The agent’s name is revealed at the end of the book, seemingly for no other reason (had the redacter run out of marker pen?) than for the surprise “It’s a woman?! Wow!” and then, when the archivist’s identity is revealed as (drum roll) Major Briggs, all I was left with was the distinct feeling that the archivist’s ‘voice’ as narrator of the book had been all wrong for Briggs.

And if we’re talking ‘voices’ the worst culprit here is the section written by Deputy Hawk, whose dignified stoicism and folkish wisdom (lazy racial stereotype though it arguably may have been) are replaced, quite bizarrely, by a kind of verbose, ‘good ol’ boy’ boorishness.

When we’re not chasing flying saucers, the book does indeed dip into the town itself and gives backstories to a number of its inhabitants. The least convincing of these is Josie’s, which paints her as a fiendish, calculating criminal mastermind who was really only playing at being meek; a heavy-handed, retrofitted invention that makes little sense looking back.

There are the much mentioned inconsistencies in the book but my chief problems with The Secret History Of Twin Peaks are its overall tone, which seems utterly at odds with the series, and its relentless obsession with those flying ruddy saucers. Flying saucers are sci-fi, and while I very much like some sci-fi, and indeed even some sci-fi that includes flying saucers, it isn’t Twin Peaks, it just isn’t. The series, for me, is all about the intangible, and like much of Lynch’s work it has its own mythos and idiosyncrasies, its own feel, a feel that can only be diluted by the seemingly random addition of conspiracy theory and hackneyed old UFO tropes.

However, as I said at the start, there are clearly at least TWO Twin Peakses. From what I’ve read, reaction to the book has been almost universally positive, so many out there would disagree; I just wish I felt the same.

There are schools of thought that try to sway Twin Peaks fans into being either in the Frost camp or the Lynch camp, and I’ve always tried to avoid choosing sides, the series was after all, a collaboration; but if this book is an example of Frost’s concrete meat-and-potatoes approach, then I choose Lynch’s intuitive dreams and mystery all day long.

I’ll keep my fingers crossed that Marvin The Martian doesn’t get a cameo in season 3…

Louche Lullabies

•November 24, 2016 • Leave a Comment

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It seems very strange to me now that way back in 2009 when we began The Double R Club, I had never hosted a cabaret show, let alone lip-synched and/or ‘sang’ (or at the very least performed) a song on stage in front of an audience every month, as I have ever since.

Below are links to Louche Lullabies, a comprehensive playlist of every song I have either performed to, or sang, at The Double R (albeit, thankfully, by the original, or at the very least *actual*, artists)

Louche Lullabies Volume #1

Louche Lullabies Volume #2

Louche Lullabies Volume #3

Louche Lullabies Volume #4

Louche Lullabies Volume #5

‘ S W E E T ‘   D R E A M S . . .

Ms. Horne, In Serious Moonlight…

•November 21, 2016 • Leave a Comment

A little something I put together for play at the final Double R Club of 2016 on the 17th. Missing Agent Philip Jeffries serenades Audrey Horne from “another place”…

We’ll see you on the other side, neighbours…

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“I’ve always loved the electric guitar: to hold it and work it and hear what it does is unreal.”

•November 18, 2016 • Leave a Comment

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Playlists for The Double R Club, 17th November, 2016

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P R E – S H O W :
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‘Le Matin Des Noire’ – Barry Adamson, from The King Of Notting Hill
‘Packard’s Vibration’ – Bookhouse, from the album Ghostwood, buy HERE
‘Packard’s Vibration’ – Angelo Badalamenti, from Twin Peaks Season Two Music And More

[sampled sound design / dialogue from Mulholland Drive]

‘Karl’ – Laddio Bolocko, from The Life and Times of Laddio Bolocko
‘The Stairs Are Like An Avalanche’ – The Swell Maps, from Jane From Occupied Europe
‘Fire Walk With Me’ – Sick Tree, listen HERE
‘Pete’s Boogie’ – David Lynch & Alan R. Splet, from Eraserhead O.S.T.

[‘Audrey, Let’s Dance’ – a home cooked ‘mash-up’ featuring elements from ‘Audrey’s Dance’ by Angelo Badalamenti and ‘Let’s Dance’ by David Bowie, together with sound design and dialogue from Fire Walk With Me]

[sampled sound design / dialogue from Mulholland Drive]

‘Tarantula’ – Calla, from Calla EP
‘James Visits Laura’ – Angelo Badalamenti, downloaded from davidlynch.com
‘Bad The John Boy’ – David Lynch, from Bad The John Boy 12″

[sampled sound design / dialogue from Mulholland Drive]

‘Up In Flames’ – Sick Tree, listen HERE
‘Home Stab Kit’ – House of Le Ford, downloaded HERE
‘Hate Song (Version)’ – Fudge Tunnel, from Hate Songs In E-Minor
‘The Man Who Never Was’ – Laddio Bolocko, from The Life and Times of Laddio Bolocko
‘It’s Your Father’ – Angelo Badalamenti, downloaded from davidlynch.com
‘Blurred Dancer Music’ – David Lynch, downloaded from davidlynch.com
‘Solo Percussion 1’ – Angelo Badalamenti, downloaded from davidlynch.com

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I N T E R V A L :
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‘Pink Room (Version 1)’ – Sick Tree, listen HERE
‘A Journey With Michael Blessing’ – Michael Blessing (Michael Nesmith), B-side to The New Recruit
‘Tori’s Deranged’ (edit) – Wax Audio, from Mashed In Plastic, download HERE
‘Audrey’s Dance’ – Xiu Xiu, from … Xiu Xiu Plays The Music Of Twin Peaks
‘Roundhouse’ – David Yow, from Tonight You Look Like A Spider
‘Night Drive’ – Silencio, from Music Inspired By the Works of David Lynch & Angelo Badalamenti
‘Walkin’ On The Sky – David Lynch, from Inland Empire O.S.T.

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My first act was to ‘Dark’ by Julie London, from About The Blues. My second act was a version of ‘Devil Town’ by Daniel Johnston (with added noise from Eraserhead, Whitehouse and NON), the original version of which appears on his album 1990.

“Elvis Presley lit the fire for me…”

•October 21, 2016 • 2 Comments

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Playlists for The Double R Club, 20th October, 2016

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P R E – S H O W :
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‘Prints Tie’ (RR pitch-lowered version) – Geronimo, from Geronimo
‘Kitchen Blues’ – David Lynch, downloaded from davidlynch.com
Novelette Conclusion [Excerpt] / Lisa [Edit] – Witold Lutoslawski / Joey Altruda, from Inland Empire OST
‘The Voice Of Love Is Crying’ – Colatron, from Mashed In Plastic, download HERE
‘Nine Mile Blubber Pile’ – Kid Congo Powers & The Pink Monkey Birds, from La Araña Es La Vida
‘Cop Beat’ – Angelo Badalamenti, from Twin Peaks Season Two Music And More
‘She Would Die For Love’ – Julee Cruise, from The Voice Of Love
‘Creeper’ – Silencio, from She’s Bad
‘Josie’s Past’ – Xiu Xiu, from Plays the Music of Twin Peaks
‘I’m Hurt Bad’ (Industrial Symphony No. 1 Version) – Angelo Badalamenti, downloaded from davidlynch.com
‘Known Not Wanted’ – Terry Edwards, from My Wife Doesn’t Understand Me
‘Dance Of The Dream Man’ – The Astronaut Arcade & Who Ha & Lucy Black, from The Next Peak Vol I
‘Half Speed Orchestra 1 (Stair Music Danger Theme)’ – Angelo Badalamenti, downloaded from davidlynch.com
‘Hook Rug Dance’ – Angelo Badalamenti, from Twin Peaks Season Two Music And More
‘Rabbit Snare’ – Throbbing Gristle, from Part Two: The Endless Not
‘The Heavenly Host Are Gathered’ – The Vanity Set, from The Vanity Set
‘Deer Meadow Shuffle’ (film version) – Angelo Badalamenti, downloaded from davidlynch.com

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I N T E R V A L :
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‘Violet Rose’ (edit) – Caesar Romero, from Matamoros
‘The Travelling Salesman’ – DK3, from Neutrons
‘I Cannot Do That’ – David Lynch & John Neff, from Blue Bob
‘Night Panic Bossa’ – Gallon Drunk, from The Rotten Mile

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My first act was to two versions of ‘I’ve Written A Letter To Daddy’ by Debbie Burton and Bette Davis respectively, from the film Whatever Happened To Baby Jane? – with some added samples from Blue Velvet. My second act was a version of ‘Such A Scream’ by Tom Waits, the original version of which appears on his album Bone Machine.

Dream Of A Child, A Hammer And A Knife

•October 9, 2016 • Leave a Comment

knife

I dreamed that I was a little boy; perhaps kidnapped, perhaps just held captive in some kind of children’s home. I was somehow aware of terrible, terrible things being done to the children, maybe slave labour, maybe something much, much worse. I escaped but was captured and thrown into a cage. I was told that, as I suspected, I would soon be killed for my transgression, but not before they’d made me beat my mother to death with a hammer. Later that night I was woken by burlesque performer Ginger Blush, who gave me a long, yellow-handled knife, before disappearing. I realised this was so I could kill myself before they made me kill my mother. I stuck the point of the blade behind my ear, and was plucking up the courage to jam it up into my brain when I woke up.