They… just cut a rug like regular chickens?

•March 21, 2017 • Leave a Comment

Sure, they just cut a rug like regular chickens.

On the 40th anniversary of Eraserhead:

hmmm - Imgur

“In movies, there is music that is not melodious, but it’s setting a mood and a very special feel. And then there’s music that has a melody that can tear your heart out.”

•March 17, 2017 • Leave a Comment

frank ben

Playlists for The Double R Club, 16th March, 2017

P R E – S H O W :

‘Go Get Some’ – David Lynch & John Neff, from Mulholland Drive O.S.T.
‘Coolstuff’ – Peter Thomas, from Betty Page Private Girl
‘Girl On The Street’ (instrumental) – David Lynch, downloaded from
‘Pretty Fifties’ – David Lynch & John Neff, from Mulholland Drive O.S.T.
‘Angel Guts:’ – Xiu Xiu, from Angel Guts: Red Classroom
‘Dark Night Of The Soul’ – Danger Mouse and Sparklehorse [feat. David Lynch, from Dark Night Of The Soul

(audio excerpt from Rabbits by David Lynch)

‘Asthma’ – Terry Edwards, from I Didn’t Get Where I Am Today
‘Deep Velvet (Carter Tutti Remix)’ – Chris And Cosey , from 2014 Tour CD
‘Eraserhead (Gazelle Twin remix)’ – Gazelle Twin, listen HERE
‘Hello Baby’ – Morphine, from At Your Service
‘Velvet Dreams’ – Voicedude, FREE download from Mashed In Plastic
‘In Shades’ – Tom Waits, from Heartattack And Vine

(audio from ‘Premonitions Following an Evil Deed’ a 52 second film by Lynch made as part of the Lumière et Cie project)

‘Nova’ – Amon Tobin, from Permutation
‘Johnny Ingrams Possessions’ (pitch lowered by 10 semitones) John Lewis, the original from Odds Against Tomorrow O.S.T.

I N T E R V A L :

‘Crazy Clown Time’ (video version) – David Lynch, audio taken from the official video, found HERE, the original from Crazy Clown Time
‘Dead Cool’ – The Chrome Cranks, from Dead Cool
‘The Switch’ – Ceaser Romero, from Matamoros

My first act was to ‘Beautiful Dreamer’ by Ken Dodd, from Presenting Ken Dodd -with interspersed samples culled from a deleted scene from Blue Velvet. My second act was a version of ‘Thursday’ by Morphine, the original version of which appears on their album Cure For Pain.

“Ageing doesn’t faze me at all. It’s the death part that’s really a drag.”

•March 2, 2017 • 1 Comment

Image may contain: one or more people(pic by Clive Holland)

Last night, on ash Wednesday and St. David’s day, was Cabaret Vs. Cancer‘s second annual tribute to David Bowie show, the appropriately titled Ashes To Ashes II.

I hosted the show and frankly had an absolute blast doing so. Singing Bowie songs (in public) is one of the hardest and most high-pressure things I’ve done; not least because A) I’m a huge fan of his and B) last night’s sold out show was jam-packed with punters who were also huge fans. My chosen songs (‘Queen Bitch’ and ‘Jean Genie’) went well regardless and were just an indecent amount of fun to sing.

The acts we had on the bill were frankly incredibly great, a real who’s who of London cabaret: Vivid Angel, Nathan Evans, Champagne Charlie, Tom Carradine, Ruby Wednesday, Marcella Puppini, Clifford Slapper, VJ Spankie, Snake Fervor, Laurence Owen, Molly Beth Morossa, Mr. B The Gentlemen Rhymer, Fancy Chance and Dusty Limits.

All in all we raised £3649.48!

As you will see above, I wore my usual Louche slap, but on top of that the lovely Melissa painted upon me the infamous red and blue Aladdin Sane ‘flash’. I pondered for a long time about whether to wear the flash, whether it was naff or just silly, but came to the conclusion that, no, I wasn’t trying to be Bowie, it wasn’t so much fancy dress as it was something else; with this in mind, I wrote the following:


He Struck Me Cold
by Benjamin Louche

If you’re struck by lightning and survive it, it always leaves a mark.
As it was with Mr. Jones, when something told you you should hark,
Hark to the sounds he made, the words he spoke, and to the shape he cut
in that bright spotlight, that crutch-hungry dark, that sweet punch in the gut

as he blazed across the stage, leper messiah, Corinthian, caricature,
You were struck down, yet lifted up, by this thin white provocateur,
And as the lightning struck you, the scar burned bright and deep,
And then it sank, invisible, yet it was always yours to keep.

You wear that flash, that lightning bolt, whether it is seen or no,
Not in imitation but because you have been marked it’s ever there, below,
So paint it on from time to time, it is always yours to wear,
It may not always be visible, but trust me, it’s always there.


And now, for your ears:

A Superabundance of Bowie #1

A Superabundance of Bowie #2

“The world of music is a magical thing.”

•February 17, 2017 • Leave a Comment


Playlists for The Double R Club, 16th February, 2017

P R E – S H O W :

‘Street Tattoo’ – Bohren & der Club of Gore, from Sunset Mission
‘Girl Talk’ – Angelo Badalamenti, downloaded from
‘Thrill Of Romance…?’ – Nurse With Wound, from Huffin’ Rag Blues
‘Tiab Guls’ – Throbbing Gristle, from Throbbing Gristle’s Greatest Hits
‘Audrey’ (TV Version) – Angelo Badalamenti, downloaded from
‘Custom Cat Crash’ – Calla, from Calla EP
‘Mysteries Of Love (French horn solo)’ – Angelo Badalamenti, from Blue Velvet OST
‘Trenchcoat’ – House of Le Ford, downloaded HERE
‘Like Regular Chickens’ (RR edit) – Amon Tobin, the original version of which appears on Permutation
‘Sycamore Trees’ – Sick Tree, listen HERE
‘Dubblegänger’ – Unsong, from A Blue Rose For Black Bob, download HERE, buy disc HERE
‘What Do You Know About Music, You’re Not A Lawyer’ – John Lurie, from Down By Law O.S.T.
‘Backseat’ – Chrysta Bell & David Lynch, from the Somewhere In The Nowhere EP
‘Psychedelic Slut’ – Two Step Horror, from Bad Sides & Rejects

[‘Flower Head Boy Follows You Home’ – exclusive in-house mash-up of ‘Jew Boy Flower Head’ by The Melvins, from The Bootlicker & ‘Follow You Home’ by Lab Report, from Figure X-71]

‘She Would Die For Love’ – Julee Cruise, from The Voice Of Love

I N T E R V A L :

‘Bridge’ – Amon Tobin, from Permutation

[‘Red Bats With Teeth’ exclusive extended in-house remix, including sound design from Lost Highway – original by Angelo Badalamenti, from Lost Highway OST]

‘Two Fisted’ – Unsong, from A Blue Rose For Black Bob, download HERE, buy disc HERE
‘Black Tambourine (Film Version)’ – Beck, from Inland Empire OST
‘Splitter’ –  Jonny Greenwood, from Bodysong OST


My first act was to ‘Love Me’ by Nicholas Cage, from the Wild At Heart OST (with added sound design from the film). My second act was a version of ‘Over’ by Portishead, the original version of which appears on their album Portishead.

“Music is abstract. When you listen to music, a multitude of things happen in your mind and in your heart.”

•January 20, 2017 • Leave a Comment


Playlists for The Double R Club, 19th January, 2017

P R E – S H O W :

[Red Room Ambience -sampled from Fire Walk With Me]

‘Dance Of The Dream man’ (Solo Sax) – Angelo Badalamenti, downloaded from
‘Omlagus Garfungiloops’ – Coil, from Stolen & Contaminated Songs
‘Eraserhead (Love Theme)’ – Sick Tree, listen HERE
‘Just You (Instrumental Baritone Guitar) – Angelo Badalamenti & David Lynch, downloaded from
‘The Invasion Of Poland’ – John Lurie, from Down By Law O.S.T.
‘Honky Tonk – Part 1’ – Bill Doggett, from Blue Velvet O.S.T.
‘We Do War’ – Gemma Ray, from The Exodus Suite
‘Rectum’ – Thomas Bangalter, from Irreversible O.S.T.
‘Audrey’s Dance’ – Full Eclipse [feat. Michael Stuart], from The Next Peak Vol I

[‘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]

‘L’Uccello Con Le Piume Di Cristallo’ – Ennio Morricone, from Crime and Dissonance
‘Spook!’ – Henry Mancini, from Music From Peter Gunn
‘Late Night Scurry’ – Kid Congo Powers & The Pink Monkey Birds, from Dracula Boots
‘I Have A Radio’ –  David Lynch from Crazy Clown Time (bonus track, Japanese edition)
‘Milky Drops from Heaven’ – Jonny Greenwood, from Bodysong OST
‘A Pretty Girl Is Like A Threnody’ – Unsong, from A Blue Rose For Black Bob
‘Sticky’ – The Jon Spencer Blues Explosion, from Now I Got Worry
‘Imaginary Girl’ – David Lynch, from Ghost Of Love CD single
‘Sexy Sultry’ – JG Thirlwell, from The Venture Bros. The Music Of JG Thirlwell
‘The Shadow Knows’ – Link Wray & The Wraymen, from The Best Of Link Wray

I N T E R V A L :

‘Trafelato’ – Ennio Morricone, from Crime and Dissonance
‘On Ward 10’ – Gallon Drunk, from The Rotten Mile
‘The David Lynch Guide To Coffee’ – Laurence Owen, from The David Lynch E.P.
‘Methamphetamine Blues’ – Mark Lanegan Band Feat. Josh Homme, from Bubblegum
‘Black Satin’ – The Raveonettes, from Lust, Lust, Lust
‘The Pink Jack’ -Mashup, free download from Mashed In Plastic


My first act was to ‘Lost In A Dream’ – The Charters, from the This Makes Me Mad 7″. My second act was a version of ‘Hang You From The Heavens’ by The Dead Weather, the original version of which appears on their album Horehound.


NOTE: special ‘shout out’ (as I believe the young folk say) to the young lady who, during the playing of  Morricone’s ‘L’Uccello Con Le Piume Di Cristallo’ -which is basically just 1:25 of the sound of a heartbeat and a woman making, ahem, ‘sexy’ noises-  I heard exclaim “This is really distracting,” to which I answered “It’ll be over soon,” and then another voice in the dark was heard to say “That’s what she said.”

Forgotten Dream of a Doppelgänger

•December 17, 2016 • Leave a Comment


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


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.


* 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…