SCHOLARS AND ROGUES
New Twin Peaks series?! Dear David Lynch, The
Raveonettes, The Blueflowers and
The Lost Patrol belong on the soundtrack - October 25, 2014
New Twin Peaks series?! Dear David Lynch, The Raveonettes, The
Blueflowers and The Lost Patrol belong on the soundtrack. Three new
CDs worth 15 stars from three bands that were born for Twin
You may have heard: THERE’S GOING TO BE A NEW TWIN PEAKS SERIES!!! THERE’S
GOING TO BE A NEW TWIN PEAKS SERIES!!! THERE’S GOING TO
BE A NEW TWIN PEAKS SERIES!!!
When I first heard the big news, my mind instantly turned to the soundtrack.
Twin Peaks probably made better use of music in establishing tension
and context than anything in TV history to that time, with the liquid baritone
twang of Vinnie Bell’s guitar and the ethereal beauty of Julee Cruise’s
vocals striking the perfect counterpoint the seething evil loose in David
Lynch and Mark Frost’s twisted narrative.
In a nutshell, it’s impossible to imagine Twin Peaks
without composer Angelo Badalamenti. Knowing how Lynch likes to maintain
continuity of personnel, even across different projects, there’s
every likelihood that he’ll want to involve Badalamenti and the
rest of these artists on the new series (although Bell is nearly 80 –
I have no idea if he’s still up to it).
I’ve argued that pound for pound, The Raveonettes may be the best
band in the world over the past decade or so. This year’s Pe’ahi
is the seventh studio release in 11 years and the worst record in the
bunch was probably a solid four stars.
They belong in the new Twin Peaks series for a lot of reasons,
but chief among them is that they, like Lynch and Frost, love presenting
us with beautiful sounds that belie the darkness of the subject matter.
You’ll rarely hear a chirpier pop ditty than “Boys Who Rape
Should All Be Destroyed,” for instance, and if you’re one
of those listeners who blithely hums along to your favorite tunes without
paying attention to the lyrics you’d perhaps be stunned by what’s
really going on underneath the surface. Jamieson Cox nicely sums up “the
Raveonettes’ basic proposition”: “simple pop songs and
sweet melodies, coated in layers of malicious fuzz and laden with comically
Yep. Their music is noisy, dissonant, dark, funny, perverse,
twisted, lush and utterly gorgeous. Pe’ahi is all these things
and then some. Sune Rose Wagner dives deep here, kicking the festivities
off with a song about the time he nearly died surfing in Maui, and over
the next 36 minutes or so we address topics like death, family discord,
alcoholism and walking in on your father in bed with a woman who isn’t
Pe’ahi is brilliant, even by Wagner and Sharin Foo’s
lofty standards, and I can’t think of a band that does a more gripping
job of being gorgeous and edgy and dark and gritty all at once.
Sound like something you could work with, Mr. Lynch?
The Bloofs new disc, At the Edge of Disaster, just dropped
and they had their CD release party last night. I’d have given anything
to be there, because this is one of the most sumptuous albums I’ve
heard in forever. Every chord, every note, every word out of Kate Hinote’s
lovely throat drips with dark, romantic foreboding. I’m pondering
whether or not I think it’s even better than In Line With the
Broken-Hearted, their 2011 masterpiece (which made my platinum list).
That I’m even asking the question is huge praise.
Their sound can be hard to describe. I wrote about their place
in the new wave of Americana in 2011, and guitarist Tony Hamera talks
about their style and influences in ways that perhaps hint at the frustration
artists doing something a little innovative have to feel when marketing
The only reason I give us the generic label of ‘Americana’
is because I really don’t think any of the more specific genre descriptions
fit us – we have elements of country, surf, garage rock, psychedelic
rock, etc., but none of those in and of themselves fit our style exclusively,
so I just went with ‘Americana.’
This is all true of Disaster, to be sure. I hear songs like “I
Can’t Let Go” and find myself thinking this is what Patsy
Cline would be doing were she alive today. Hamera’s ringing, jangly
guitars call to mind everything from Duane Eddy to Peter Buck, and the
trippy title track that leads off the CD has this sultry neo-Spaghetti
Western vibe – not only does Lynch need The Blueflowers in the new TP
series, he needs to keep them in mind should he ever decide to reboot The
Good, the Bad and the Ugly.
The Lost Patrol
Neo-Dreampop-Rock RIYL: Cocteau Twins, Mazzy Star, Church, Raveonettes,
Julee Cruise, Cramps, Siouxsie, Slowdive, Chris Isaak, Jesus & Mary
Chain, Ennio Morricone & Angelo Badalamenti [emphasis added]
Yes, The Lost Patrol have very pointedly taken some cues from Twin
Peaks, and their new CD, Chasing Shadows, makes the case for their
inclusion in your new series from the very first note. I mean, just listen
to the first 45 seconds of track 1, “Creeper.”
The truth is, TLP’s reverence for the Twin Peaks
sound goes back as long as there has been a TLP, and I’ve written
in the past about their cinematic “epic retro-futurist” vibe before.
In fact, I even fantasized about them getting involved with Lynch back
So if you imagine Midnight Matinee as Duane Eddy teaming up with
Hope Sandoval, Jon Crosby and The Church to do a soundtrack for a new
David Lynch Western Gothic epic starring Johnny Depp and a wrung-out Elisabeth
Shue, with powerful supporting turns from Zooey Deschanel and Javier Bardem,
you’re probably more or less on the right track.
At that point I wasn’t even dreaming about a new TP
run, so you can imagine how long it took the idea to spr ing into
my head once I heard the news.
There are a number of tunes on Chasing Shadows that I can
imagine in a new Twin Peaks, but the one I most want to hear on that
soundtrack is “S’enfuir,” a beautiful ballad performed
in French. It’s utterly lovely, and I can see it being put to good
effect by Lynch in anything from a love scene to the authorities dragging
a body from the river. This is David Lynch we’re talking about,
Also, as with The Blueflowers, I want The Lost Patrol appearing
in the show. Maybe they can be performing live (that worked really well
in Vamps) or perhaps they can be pressed into service as cast members.
The possibilities are endless.
So there you have it, David. It goes without saying that I
CANNOT WAIT for the new series. Word is that both you and Mark are going
to be involved in each episode, so yeah, my expectations are through the
And I know your talent for using music in ways that elevate the
drama and lend it a certain timelessness. The Raveonettes, Blueflowers
and Lost Patrol are three bands that can help you once again transcend
eras in constructing television that people will be talking about for
Have your people give me a call. We can make this happen. And
when the series is wrapped, maybe we can get everybody together for a
big show. I’d dig the hell out of a quadruple bill featuring these
three bands and you performing Crazy Clown Time front to back.
That’d be a hell of a gig.
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