After what feels like years of Twin Peaks cult members begging for an official revival, the iconic ’90s drama will return in 2017 through Showtime. Today, fans were treated with a small glimpse of what’s been in the works, showcasing the production crew setting up shop in the series’ original Washington location.
Michael Horse, who played Deputy Hawk in the original run, is interviewed for the teaser clip and discusses how the rural region has “a lot of sacred places.” It touches something in the psyche, he says, “like being in a moving painting.” Watch the quietly haunting preview, below:
This past weekend David Lynch revealed to the world that he would be removing himself Showtime’s Twin Peaks revival after they refused to pay him the proper amount of money he felt that he and the show deserved. However, what is perhaps the most bizarre and unnecessary element of all, is that the show might still continue in his absence with another director at the helm. Personally, I hated the idea of Lynch bringing back to the show, but with his involvement at all this would be nothing short of a disaster. So what’s to be done?
Well, Mädchen Amick, who played lovable waitress Shelly Johnosn on Twin Peaks has rounded up her fellow cast members for a, frankly creepy, video of them all saying their variations on “Twin Peaks without David Lynch is like….” The video features Sheryl Lee, Dana Ashbrook, Sherilyn Fenn, and more. Take a look for yourself HERE.
Let’s take a stroll through Michel Chion’s “Lynch-Kit”—which is featured in the 2nd edition of his book David Lynch. The “Kit” is an alphabetical list (originally in French), but what’s more, it’s an “attempt to reconstitute an impossible whole…inspired by Lynch’s themes, but is neither an inventory or an index, nor even a repertory.” Chion asserts that “a certain number of scenes and major signifiers were simply chosen from the filmmaker’s work and connected to one another.” With multiple visual, emotional, psychological, and physical terms for each letter of the alphabet, Chion’s collection is a vast array in great detail. Some allusions are more abstract and take a moment to thoroughly process, while others are direct and literal—yet all equally relevant. And as it’s an interesting “Kit” to devour, I wanted to share his connections, along with visual moments from Lynch’s works that illuminate Chion’s writing. In David Lynch, he theorizes just how each theme corresponds to Lynch’s films but for now, let’s just watch our way through his alphabet. Enjoy.
A for Alphabet
B for Body
C for Chair
C for Curtain
C for Curtain
D for Dream
D for Dream
D for Dog
E for Erasure
F for Fence
F for Floating
F for Floating
For for Forever
G for Group
H for Hut
I for Insect
K for Kit
L for Log
N for Night
O for Open Mouth
P for Power
R for Reaction
S for Smoke
S for Stage
S for Stage
T for Texture
V for Void
W for Word
The pleasure of music lies in its ability to give as an immersive experience, to engulf our bodies entirely in sound, and allow us to luxuriate in the grand feeling of it all. Our emotional reactors prick themselves up, we close our eyes, and allow ourselves to be transported into another world, a world of our own—one that can act as a cloak to the outside world and protect our solipsistic bubble for the most fulfilling listening experience. And for Russ Marshalek, his latest musical endeavor a place both wonderful and strange takes his dark and cinematically-minded sonic affinities to new depths.
As the follow-up to his last musical project Silent Drape Runners—a Twin Peaks-inspired band whose live performances garnered much acclaim—a place both wonderful and strange again plays off that haunting and heartbreaking Lynchian world of psychological darkness to envelop your senses. Produced entirely by Marshalek—save two tracks which were mastered by Long Island-based rapper/producer Lyle Horowitz of Blahzè Misfits—the new album Play It As It Lays also features longtime friend, collaborator, and vocalist GHOST COP (Lucy Swope), who co-wrote the first single.
Speaking to Play It As It Lays, Marshalek expressed that the album is, “ultimately about suffocation, drowning, and release, and an attempt to push myself away from the simpler production techniques I used in my old band.” With chilly electro beats that sink into your bones, make your skin tingle, and haunt your dreams, it’s the perfect cold weather album to enjoy in the dark—whether you’re curled up under the covers with a whiskey or wander down vacant streets in the moonlight.
And today, just before the album release show at Sleep No More this evening, we have the exclusive stream of the album for you to enjoy. Black the lights, take a listen, and fall into a place both wonderful and strange.
The next release will be an EP titled New Jack Witch—featuring all new Jack Swing songs with a retro-futuristic concept, inspired by Janet Jackson’s Rhythm Nation and Michael Jackson’s Scream.
“It has something to do with, uh, a relationship ending,” said the ever-shadowy David Lynch on the interpretation of his 1989 musical performance Industrial Symphony No. 1: The Dream of the Broken Hearted. Originally conceived while studying at the Pennsylvania Acadamy of Fine Arts when Lynch was making series of complex mosaics in geometric shapes called “Industrial Symphonies,” years later he spun that original idea into a feverish amalgamation of sound effects and music onstage.
Premiering at BAM in November 0f 1989, the avant-garde musical play featured a cast of Laura Dern, Nicolas Cage, Julee Cruise, and Michael J. Anderson with music by Lynch’s musical companion—the man whose melodies have become synonymous with the Lynchian universe—Angelo Badalamenti. Cage plays the Heartbreaker to Dern’s Heartbroken Woman as Industrial Symphony No. 1 floats from their initial sever to a hallucinatory dream that the she has.
Unfolding like a nightmarish dream somewhere between the abandoned factories of Eraserhead
and the Black and White Lodge of his future Twin Peaks
, Cruise descends from the ceiling as lights flicker and flare like schizophrenic clues that we’re being transported somewhere beyond. As we noted in our Cinematic Panic
article on Eraserhead, Lynch’s affinity for the stage has swelled throughout his films from the inside out:
The act of the performance also makes its way into the majority of his work, perhaps perfected in Mulholland Drive’s Club Silencio scene when Rebecca del Rio sings (or does not sing) a frighteningly beautiful a cappella version of Roy Orbison’s "Crying" that echoes the entire sentiment of the film. And just as the Lady in the Radiator sings "In Heaven Everything Is Fine," Dean Stockwell’s performance of "In Dreams" in Blue Velvet simultaneously takes us out of the world of the characters in the film and allows us to become more entrenched in their own psychological journey. The staged performance speaks to who we are inside the deepest caverns of our mind and who we are to the world, who we present and tell ourselves we are, and what’s really looming just beneath.
The song list for the show includes:
- Up In Flames
- I Float Alone
- The Black Sea*
- Into the Night
- I’m Hurt Bad*
- Pinky’s Bubble Egg (The Twins Spoke)
- The Dream Conversation*
- Rockin’ Back Inside My Heart
- The Final Battle*
- The World Spins
If you haven’t absorbed yourself into this yet, I’d suggest doing so right away below.
With Breaking Bad and Dexter both on their way out for good, and True Blood nearly wrapped up as well, premium cable is going to be hurting for both outlandish crime potboilers and a dose of Southern Gothic ooze. By all indications, HBO will be filling the void with True Detective, a drama series starring Matthew McConaughey alongside Woody Harrelson—one cool thing about the “Golden Age of TV” is that every A-lister seems to want a show of their own.
Yes, it’s another of those unraveling-an-unspeakable-secret-in-a-rural-or-small-town stories, somewhat in the tradition of Top of the Lake
, as well as The Killing
, the Red Riding
trilogy, BBC’s The Edge of Darkness
, and Twin Peaks,
going back finally all the way to The Wicker Man
, whose cultish overtones are apparent in the creepy Blair Witch
-like folk art we see dangling from trees in this clip. But we ought not to let this clear lineage—nor the reality of McConaughey being out of his depth against an actor like Harrelson (only one of these guys would show up in a Coen brothers movie)—depreciate our love for gory, unsettling mysteries.
And there does seem to be a promising twist on this familiar material: the two leads are pursuing their Louisiana serial killer over the course of seventeen years—well, actually, think Zodiac—and the show will have the multiple timelines to flesh that out. In the preview, for example, we see what appears to be a flash-forward to a slightly drunk McConaughey telling other cops the whole sordid story. A promising framing device, we hope, and not some more Lost-style shenanigans. Either way, we’re in for a TV show’s TV show.
Whatever Friday the 13th means to you, why not ruminate on what the fifth iteration of the classic horror film would have been like if David Lynch directed it?
Taking Lynch’s signature surface level editing and directorial affinities, the brief peak at an alternate Friday the 13th Part V features a giddy diner waitress, the look and sound of flickering neon, strange dancing, dialogue chopped and cut in reverse, a skinless chicken, lots of screaming, all set against a jazzy score. Enjoy.
Or just go watch Fire Wak With Me—that’s always good for a hair raising.
“Music’s been real important to me since the time I was small….And it’s amazing how much we know that we don’t realize we know,” said David Lynch. “I’m not a trained musician, but when you get into it, you discover you really do have an understanding of the form and have incredibly strong feelings about how music should be made. I’m not saying l’m a skilled musician, but me and Angelo [Badalamenti] – who’s a great musician – have an instant dialogue.” And throughout his nightmarish dreamscape of an oueuvre, music has been an integral element to the psychologically penetrating and haunting power of his work. The droning hums or Eraserhead or the mysterious sounds lingering in the night between the trees of Twin Peaks are just as large of a character as any, and when it comes to the Lynchian universe, his sonic world has always been just as riveting as the tones and textures that come to life on the screen.
Last year, we were thrilled that Sacred Bones would be putting out a re-issued vinyl of Eraserhead’s dark and dizzying original soundtrack, but now we learn that the label will be putting the OST out on CD as well. With the vinyl no longer available, the CD—which has not been available in five years—contains only three songs, but does have a 10-minute dance mix done by Lynch. And in addition, the label has also un-earthed copies of the fascinating and rare soundtrack to Twin Peaks’ second season. Composed by Angelo Badalamenti, the chilling soundtrack as well as the Eraserhead album are now available for purchase, so I’d suggest you head over to Sacred Bones immediately and bask in all that Lynchian sound.
And for an added treat, watch this wonderful video of Badalamenti demonstrating his creative process working on Twin Peaks.
Cinematic Panic: Diving Into The Dark Unknown With David Lynch’s ‘Eraserhead’
David Lynch on His Favorite Films and Filmmakers
See a Young David Lynch Talk ‘Eraserhead’ in 1979
David Lynch Talks Cinema’s Current State and the Spiritual Experience of Film
Watch A Video Essay Connecting Lynch’s ‘Inland Empire’ & Kieślowski’s ‘The Double Life Of Veronique’
Yesterday, we were finally able to get a full taste of David Lynch sonic world with The Big Dream streaming a week ahead of its release. But now, just in time to reminiscence about his brilliance, we’ve been gifted with a Twin Peaks coffee and pie super cut. The montage shows just about every mention of pie and coffee on the show and yes, it’s damn good. Also, checkout the coffee sip pie chart to see how everyone stacked up—obviously, not competition to Coop, of course.