Posts Tagged ‘David Lynch’

Year of The Rabbit

Thursday, February 3rd, 2011

Rabbit punch

It’s Chinese New Year today bringing with it the Year of the Golden Rabbit. According proverb the Year of The Rabbit is a time for negotiation, to catch your breath and calm your nerves. It’s a time to create a safe, peaceful lifestyle, so you will be able to deal calmly with any problem that may arise.

Those born in the Year of The Rabbit are good teachers, counselors and communicators. They are reasonably friendly and enjoy company of close friends but can be introverted. They can make great painters and musicians because of they’re love of beauty and sense of creativity. They never embrace others in public places. There is no need to worry about their lives. They are intelligent and quick, and can talk themselves in or out of most situations with no problem. They know the art of saving face and giving consideration to the interests of both sides. As keen, wise, fragile, tranquil, serene, considerate, kind, and fashionable people – it’s fortunate there are three of them working at We Love HQ.

Office Listening – #22

Tuesday, January 25th, 2011

Tigger wears a wig

Tiger, tiger burning bright
In the forests of the night
What immortal hand or eye
Could frame thy fearful symmetry?

We found a key and instructions towards a locked box in which we found Mark’s choices for January’s office listening. Even when trekking in disaster prone foreign climes he can transfer his office listening desires back to us at HQ as a musical time capsule.

Since she buys us sweets and laughs at Andy’s bad jokes, Jade gets an honorary mention, this weekend.

Mark…

Gonjasufi – Duet
Ramadanman – Humber (Sven’s Rumber Remix)
Andreya Triana – A Town Called Obsolete (Mount Kimbie Remix)

Andy…

R.E.M – Losing My Religion
Q – The Voice Of Q (Original 12′ Mix)
Jehst – Bluebells

Ruairi…

Maxmillion Dunbar – Girls Dream
JJ – New York
David Lynch – Good Day Today

Jade…

Edward Sharpe and the Magnetic Zeros – Jade

Angelo Badalamenti & David Lynch – Mulholland Dr.

Tuesday, March 23rd, 2010

Eerie, elegant, eclectic


To continue our theme of soundtrack reviews, we go for a film which is both baffling and excellent. For anyone who has seen the opening sequence of this modern tour de force, consisting of a black limousine snaking it’s way through the Hollywood Hills, should remember the uneasy, eerie and emotionally overwrought orchestral tinged electronica of the title theme which emerges from the nervous, up-tempo swing rhythm of a big band dance. This is typical of Badalamenti’s contribution to the score, juxtaposing innocent pop nuggets into a dark soundscape becoming murkier at every turn. The soundtrack as a whole turns on the usual Lynchian elements, the brooding atmosphere of Angelo Badalamenti‘s ominous synth-ensemble cues are thrown against Lynch’s own, off-centre, kitsch compositions.

...and now I'm in this dream place. Well, you can imagine how I feel.


The plot follows Betty Elms (played by Naomi Watts) a perky Hollywood hopeful as she tries to unravel the mystery behind a nameless woman (Laura Harring), her amnesia and involvement in a car crash. Over the next two and a half hours of hallucinatory thrills and charged erotica, a new reality emerges, portraying the seedy unpleasantries of both the film’s protagonists and the Hollywood machine itself. The film takes an incomprehensible turn around two thirds of the way through, it becomes confusing when characters disappear and plot devices dribble out – but all things considered it does make some semblance of sense in the end. The narrative is playfully surreal rather than frustratingly over-intricate. The regular themes of Lynch’s best work are all here – strange Machiavellian characters behind the scenes, extreme violence, obsessive characters and mainly the surreal being an active part of daily life. Without trying to give too much away, the film culminates in a delusional masturbatory fantasy and suicide which explains the dream-like goings on of the previous two and half hours.

It'll be just like in the movies. Pretending to be somebody else.


Like all their collaborations, Mulholland Drive’s is equally eerie, elegant and eclectic. By spanning the aforementioned up-beat Jitterbug into the haunting orchestral drone of the film’s main theme in it’s first two scenes alone the audience is left in no doubt of being transported into a very different world. Baldalamenti’s own work varies from the jazzy Dinner Party Pool Music to the ominous ambience of Diner, Silencio and the Dwarfland / Love Theme. Lynch’s own surfy, guitar-based compositions, Mountains Falling and Go Get Some aren’t quite as transporting as Badalamenti’s pieces, but they certainly offer a sonic twist on the sunny California that Lynch portrays and subverts in the film. Similarly, Linda Scott’s sugary sweet I’ve Told Every Star” takes on a slightly disturbing edge within the context of the film and album, while Llorando by Rebecca Del Rio, a Spanish a cappella version of Roy Orbison’s classic Crying only sounds more vulnerable and heart-wreching. A focused and accomplished piece of work, Mulholland Drive is a mysterious and affecting soundtrack from one of the most consistently creative teams working in film.

So since you agree, you must be someone who does not care about the good life.


Although not garnering quite the same effect as sitting in a darkened theatre, experiencing the exaggerated gestures, heightened emotions and odd plot turns. All in all, the soundtrack is every bit as entertaining, quirky and surreal as the film itself. Badalamenti and Lynch weave a soundscape that characteristically pulls the listener from one mood to the next. From brooding foreboding to flavourless yet intriguing pastiches there is a constant undercurrent of hallucination. The atmosphere, emotion, dream and subsequent reality shock of the cinema are all here to be enjoyed through your home stereo.

The rest of the cast can stay, that's up to you. But that lead girl is not up to you. Now you will see me one more time, if you do good. You will see me, two more times, if you do bad.


Like the film, the soundtrack builds towards Rebekah Del Rio’s, Llorando (Roy Orbison’s, Crying translated into Spanish). Sung a cappella and with haunting magnificence it could feel as though the track would not be as powerful without the context of the film. The unexpected focus on sound (as opposed to image) when this song appears in the film in the Silencio Club scene, sets it apart from other sound elements in the film. There, musicians and singers pretend to perform, but the music is all canned. Says the emcee: “This is all a tape recording. It is an illusion.” Up in the balcony, the pair begin crying. Betty shakes and weeps in some hyperemotional response to the music. This is truly music for the soul, offering something deeper, perhaps representing Lynch’s own ideas about life.

So give it a listen and see if it can elevate you towards the fantastical mental energy of Betty herself (or is that Diane). Angelo Badalamenti plays the espresso-drinking movie executive at the beginning of the film, incidentally.

David Lynch’s Mulholland Drive – Discogs

Mulholland Drive – IMDB

Danger Mouse, David Lynch and Sparklehorse – Dark Night Of The Soul

Monday, November 16th, 2009
David Lynch, Sparklehorse and Danger Mouse

David Lynch, Sparklehorse and Danger Mouse

Musical visionary Danger Mouse, iconoclastic filmmaker David Lynch, and celebrated rock recluses Sparklehorse have converged to create Dark Night of the Soul, a project encompassing a new full-length album and limited edition book.

As half of the acclaimed duo Gnarls Barkley, Danger Mouse is no stranger to high-stakes collaborations. With the help of Sparklehorse, he has recruited a remarkable cast of contemporary artists to lend their vocals, including the Flaming Lips, Black Francis of the Pixies, Julian Casablancas of the Strokes, James Mercer of the Shins, Jason Lytle of Grandaddy, Gruff Rhys of Super Furry Animals, Nina Persson of the Cardigans, cryptic Southern songwriter Vic Chesnutt, avant-folk icon Suzanne Vega, punk titan Iggy Pop, and even Lynch himself.

By David Lynch

By David Lynch

To create the images that accompany the music, Danger Mouse chose David Lynch. Known for revealing the gripping horror beneath suburban banality, Lynch crafts eerie beauty from the most irregular of elements. For Dark Night of the Soul, the creator of Twin Peaks, Inland Empire, Blue Velvet, and Eraserhead, delivers a gorgeous, hypnotic series of photographs.

This captivating project explores and escapes the reality of the world. The book package includes the full sequence of Lynch’s images, a foreword by Danger Mouse, selected lyrics, and an art-printed CD-R, in a run of only 5000 copies, each individually numbered. For Legal Reasons, enclosed CD-R contains no music. Use it as you will.

‘All copies will be clearly labeled: ‘For Legal Reasons, enclosed CD-R contains no music. Use it as you will,’ – a spokesperson for Danger Mouse said. ‘Due to an ongoing dispute with EMI, Danger Mouse is unable to release the recorded music for Dark Night Of The Soul without fear of being sued by EMI.’

The disagreement between Danger Mouse and EMI likely roots back to the Jay-Z/Beatles mash-up The Grey Album he made in 2004. The brilliant combination of The White Album with The Black Album catapulted DM (real name Brian Burton) from bedroom producer to international star, but it came with a price: it infuriated the massive label group, which controls the rights to the Beatles’ recordings.

Sparklehorse are under contract with EMI, and Danger Mouse produced albums like Gorillaz’s Demon Days and the Good, the Bad and the Queen’s self-titled debut for labels under the EMI umbrella, so it’s unclear why the lawsuit would trouble the release now. ‘Danger Mouse remains hugely proud of Dark Night Of The Soul and hopes that people lucky enough to hear the music, by whatever means, are as excited by it as he is,’ the spokesperson said. The album has actually leaked. (Here it is.)

It’s beautiful but haunting, surreal and dark, but sometimes comical and affecting too, with ear-popping, multilayered production work. It just gets more mesmerizing with every listen. Considered by many reviewers already to be one of the albums of the year and certainly creating more hype and raw exposure than most. We are left wondering, is spin the real art-form here?

This is a track by track review by one of the original leakers of the album:

“Revenge” featuring The Flaming Lips
A classic Linkous keyboard lurch blended with Coyne’s echo-laden coo produces a mid-paced slice of modern Americana that sits well among The Flaming Lips or Sparklehorse’s best work.

“Just War” featuring Gruff Rhys
Sprightly guitar plings and oompah bass throbs reminiscent of ‘Rings Around The World’ era Super Furry Animals define this anti-war ditty. The song that first kicked off the project and one of the poppiest moments on the album.

“Jaykub” featuring Jason Lytle
A tender yet sweeping affair built from a bed of acoustic guitars. Featuring ex-Grandaddy man Lytle, it shares several sun-kissed hallmarks with his former group.

“Little Girl” featuring Julian Casablancas
The electric guitar lines played by the singer that run through this entire song could have floated straight off a Strokes effort. The wirey solos cut tellingly cuts against Cassablancas’ endearingly moody vocal. Following his warm vocal on ‘My Drive Thru’ last year, these glimpses of The Strokes frontman in action hint at a slightly more soulful approach for his band’s fourth effort.

“Angel’s Harp” featuring Black Francis
DM and Linkous’ tactic of matching songs to singers continues with this anvil-heavy, Nirvana-esque grunge song, complete with bucking, dirty riffs and Pixies drum-rattles.

“Pain” featuring Iggy Pop
A noir, moody but hammering train-paced song provide the perfect atmosphere for Iggy’s wails about ‘bad brains’ being a ‘mix of God and monkey’ on one of the darkest – but still most danceable – moments of the album.

“Star Eyes (I Can’t Catch It)” featuring David Lynch
Director Lynch offers bluesy vocals over a swamp of electronic gurgles in a soft, understated tone. One of the album’s more atmospheric and sparsely structured songs.

Album Cover

Album Cover

“Everytime I’m With You” featuring Jason Lytle
Boasting a heady, drunken swagger, Lytle’s vocals obsesses with getting ‘trashed’ and ‘fucked up’ every time he hooks up with his partner. Has one of the album’s catchiest choruses too.

“Insane Lullaby” featuring James Mercer
With the melody caked in electronic babbling and lyrics about androids, the Shins frontman conjures the feel of a malfunctioning computer amid this glockenspiel and strings adorned epic.

“Daddy’s Gone” featuring Nina Persson
Sadly not a cover of Glasvegas’ hit, but a mid-paced acoustic-based country-ish number that’s as sunny as a Nashville summer.

“The Man Who Played God”
featuring Suzanne Vega
One of the most conventionally structured songs on the album, country-ish guitars lilt against Vega’s impressive, breathy-but-powerful vocals.

“Grim Augury” featuring Vic Chesnutt
With a Addams Family spookyfeel ‘Grim Augury’ sees the American maverick singing cutting out babies, knives and things ‘wriggling in gore’ over vampiric organ and drum stick clicks. Unsettlingly
intriguing.

“Dark Night Of The Soul” featuring David Lynch
Lynch’s second vocal appearance is a more surreal affair with scratchy pianos and a constant whir that gives the impression it’s being spun out through an old projector. Provides the album with its title.

Check out another Lynch inspired album over at Mashed In Plastic: the David Lynch mash-up album presented by 1086 productions. Mashed in Plastic is available two ways: as two long tracks (sides A and B) or as eighteen separate tracks with unbroken transitions and film audio excerpts.

Download Dark Night Of The Soul

Dark Night Of The Soul – Official Website

Danger Mouse Official Website

Sparklehorse Official Website

David Lynch Official Website

Wikipedia Article On Dark Night Of The Soul

Mashed In Plastic: the David Lynch mash-up album