Twin Peaks / O.S.T.
Detailshttps://www.fye.com/twin-peaks-o.s.t.-aec.rhna562528.1.html aec.rhna562528.1 9/22/17 New
Review Text Along with its companion album Twin Peaks , Twin Peaks reaffirms just how integral music and sound design are to David Lynch's vision. The 2017 version of Twin Peaks was defined as much by the absence of familiar sights, sounds, and characters as their return, and for much of the show's run, Angelo Badalamenti's iconic music was almost as sorely missed as Agent Dale Cooper. When Badalamenti's cues did appear, they often added new layers to the show's mystery; the inclusion of "Twin Peaks Theme" on this album and Twin Peaks feels like another clever expression of season three's obsession with dualities and nostalgia, a meta-commentary that peaks with the reappearance of "Audrey's Dance." Ultimately, Badalamenti's compositions make up the majority of Twin Peaks and prove he's still at his evocative best. Alongside previously released tracks like "Deer Meadow Shuffle," which sounds like a small jazz group playing at the edge of a hellmouth, Badalamenti's new compositions convey the pain of the past as well as changes that are irreversible even in a world as mysterious as Twin Peaks. The shimmering, otherworldly ascent of "Accident/Farewell Theme" delivered one of the season's most emotional moments, while "Dark Space Low" closes the album (and the show) with an evocation of emptiness. Lynch's own musical contributions are nearly as striking: his sludgy remix of Muddy Magnolias' "American Woman" renders it unrecognizable, but its raw beats and backwards vocals make it the perfect theme for Agent Cooper's sinister doppelgänger. Later, "Slow 30's Room," a collaboration between Lynch and sound designer Dean Hurley, disintegrates vintage sounds in a Caretaker-like fashion. As on Twin Peaks , contributions from artists outside the director's core creative group add perspectives that reflect the passing of time and multiple dimensions explored in the third season. The primal trauma of Krzysztof Penderecki's "Threnody for the Victims of Hiroshima" helped make the nuclear horrors of the show's eighth episode unforgettable, while Johnny Jewel almost manages to beat Badalamenti at his own game with the fabulously torchy "Windswept." While the third season defied many viewers' expectations, its music channeled Twin Peaks' enduringly weird, dark, poignant, and beautiful heart just as evocatively as the soundtracks to the original series and Twin Peaks: Fire Walk with Me. ~ Heather Phares