From Chris Isaak to Karen O, David Lynch’s musical collaborators recount his strange, sonic mysticism

2013 found David Lynch in his home recording studio, engrossed in work past the usual morning hours. The room was filled with an array of electric guitars in various shapes and hues. At his feet lay effects pedals, and within reach was a case containing an orange sunburst lap-slide guitar. With a smile and evident admiration, Lynch remarked, “This is the guitar Ben Harper gifted me.” He continued, “That instrument produces quite a remarkable sound.

The event in question centered around the upcoming launch of his second solo LP titled “The Big Dream,” yet it wasn’t our sole conversation about his music. He was a self-educated musician on the guitar, with a past as a high school trumpeter, but he was captivated by any sounds that resonated deeply with emotions of sorrow and tension, elegance and disorder.

Throughout more than half a century, he established himself as a renowned surrealist director with an exceptional flair for filmmaking, amassing a well-deserved reputation. However, Lynch, who passed away recently at 78 years old, was not just passionate about cinema. He found inspiration in various artistic fields like painting, photography, and even furniture design. Above all, music captivated his imagination the most, enriching both his life and creative endeavors.

We found ourselves at his comprehensive sound studio, named Asymmetrical Studio, which he constructed within the home that previously served as a shooting location for his 1997 movie “Lost Highway.” He frequently spent time there, and it was merely one indication of his long-standing fascination with audio. Over the years, this space played a pivotal role in his life, both as a filmmaker and later as a recording artist, songwriter, and producer.

Director Lynch had a distinctive musical style, which was often collaboratively developed with composer Angelo Badalamenti and others. He was drawn to the gritty electric guitar notes, harsh industrial tones, and soft, resonant female vocals layered with strings and organ. His work showcased sounds that were both intense and peculiar – from his choice of heart-wrenching ballads by Roy Orbison and Chris Isaak, to his own recordings featuring the haunting voices of Julee Cruise and Chrystabell.

One of his musical partners was Karen O, lead vocalist for the band Yeah Yeah Yeahs, who featured on his debut solo album, “Crazy Clown Time” (2011). She recalls Lynch’s sound as both intense and emotional. In her words, it embodies sensuality, urgency, mystery, darkness, rebelliousness, and edginess – qualities that are reflective of David Lynch’s musical preferences.

They produced a haunting, twangy, booming melody titled “Pinky’s Dream,” which includes the breathless vocals of Karen O. “I’ve never actually met a Pinky,” she says now with a laugh. “It’s a character from within a David Lynch-like dreamworld. The music seems to move along, and it gives you the feeling like you’re driving on one of those mysterious highways.

During my 2015 studio visit atop the Hollywood Hills, Lynch shared with me a personal insight about his musical preferences: “It seems I have a fondness for tunes that are soft and unhurried, yet I’m equally captivated by such a wide array of music genres.” He expressed his admiration for the transformative power of sound and music, stating, “I am enamored with what sound can achieve, what music can do. It’s magical when I can blend these melodies with my artwork, creating a harmonious whole that surpasses the individual elements.

In his role as director, he demonstrated an exceptional talent for selecting music that resonated powerfully. For instance, he chose Samuel Barber’s emotionally intense “Adagio For Strings” for the 1980’s film “The Elephant Man.” Similarly, in the 1990’s movie “Wild at Heart,” he opted for the aggressive thrash metal riffs of Powermad. Lastly, in “Mulholland Drive,” he used Rebekah Del Rio’s passionate Spanish a cappella rendition of “Llorando.

As a movie connoisseur, I found myself captivated by director David Lynch’s ingenious blend of romance and eeriness in a disquieting scene from “Blue Velvet.” Actor Dean Stockwell, resplendent in a paisley tuxedo jacket, serenaded us with a hauntingly beautiful rendition of Roy Orbison’s 1963 classic “In Dreams.” This haunting performance not only added an enigmatic charm to the film but also ignited a revival of Orbison’s music. Soon after, Lynch and Orbison collaborated to produce a new version of this timeless song for a 1987 retrospective album titled “In Dreams: The Greatest Hits.

Ultimately, his passion for music guided the director to experiment with making some of his own tunes, commencing with unique collaborations with Badalamenti. This partnership, which lasted from “Blue Velvet” in 1986 up until the composer’s demise in 2022, bore a particularly intimate bond reminiscent of the one between Federico Fellini and Nino Rota – Duran Duran’s Nick Rhodes likens it to their collaboration on all of Fellini’s films from 1959 to 1979.

According to Rhodes, the collaboration between Lynch and Badalamenti was “so tight that it seemed like they could sense each other’s heartbeats.” Rhodes’ team of talented musicians had worked with Lynch on various projects, including reworking a couple of their songs for him.

Lynch often credits Angelo Badalamenti for introducing him to the realm of music. As a youngster, I played the trumpet and appreciated music, but I was captivated by sound effects. This led me to desire a studio where I could explore sounds, yet I recognized I wasn’t truly a musician. However, Angelo requested lyrics from me. So, I began writing lyrics for Angelo, and we collaborated. Our partnership, known as the David Lynch and Angelo Badalamenti duo, helped bring those hidden aspects out, boosting my confidence.

By the end of the 1980s, this creative urge guided the duo to Excalibur Sound Productions in New York City. Here they collaborated on music with an unknown young artist named Julee Cruise, who had recorded their song “Mysteries of Love” for the film “Blue Velvet”. After a year and a half of recording sessions, an album titled “Floating into the Night” was released in 1989, which included the hit single “Falling”. This song later gained popularity as the theme tune for the television series “Twin Peaks”.

In 2017, when the critically acclaimed third season comeback of “Twin Peaks” was airing on Showtime, Cruise recounted to me the instructions given by Lynch during their sessions. “He told me, ‘Julee, you embody a child filled with curiosity,'” said Cruise, who also sang the hauntingly beautiful “The World Spins” for the show.

Cruise, who passed away in 2022, expressed that he would forever be recognized for this, and he would always be proud of it,” stated Cruise. Lynch was also the director of a one-hour musical film featuring Cruise, titled “Industrial Symphony No. 1,” which was released by Warner Bros. Records in 1990.

Over time, Badalamenti resided in New Jersey, with occasional visits to L.A. According to Lynch, they would always find time to create music together, wherever their location. Recently, the director mourned the 2022 passing of Badalamenti, whom he referred to as his “brother.

Lynch expressed, ‘It’s hard to believe he’s not here anymore.’ He added, ‘It feels as if I could pick up the phone and we could create music together once more.’

Over the course of time, Lynch established numerous studios close to his Hollywood Hills residence – a recording studio, painting studio, wood shop, and offices. However, he played music live just once, with his band Blue Bob in 2002, describing it as a “shockingly exhilarating” event that he had no immediate desire to replicate.

Isaak noted that he wasn’t fluent in musical terminology. He wouldn’t discuss specific chord progressions or length of sections, such as “I want an E minor and then eight bars of this,” according to him. In other words, they didn’t communicate using musical jargon. This was the case even after his song “Wicked Game” became popular following its use in the 1990 movie “Wild at Heart.” David Lynch later directed the music video for “Wicked Game.

Beyond collaborating on music with Lynch, Isaac also took a significant screen role in “Twin Peaks: Fire Walk With Me.” It was quite fortuitous that our paths crossed and I had the opportunity to work with him, spend time with him, and get to know him a bit. I must have someone looking out for me because what a fantastic experience it was.

David Lynch, a filmmaker, demonstrated his love for music by transforming the Roadhouse bar in the 2017 season of “Twin Peaks” into an elite nightclub, featuring full performances of songs by artists such as Moby, Eddie Vedder, and Nine Inch Nails. Throughout numerous episodes, this was a recurring element. In the year 1997, Lynch enlisted Trent Reznor from Nine Inch Nails to produce a soundtrack for “Lost Highway.” Their collaboration earned them a cover on Rolling Stone magazine. Later, Lynch also created a music video for Nine Inch Nails’ “Come Back Haunted.

Unexpected partnerships proved to be equally fruitful in 2011. Duran Duran approached David Lynch to direct a live-streamed concert from the Mayan Theater in Los Angeles, as part of American Express’s “Unstaged” series that paired musicians with filmmakers. The collaboration resulted in a unique performance, shot in moody black-and-white for a global online audience, and filled with Lynchian visual elements such as smoke, fire, peculiar objects, and eerie superimpositions of animals and the band.

According to Rhodes from Duran Duran, when such a magical event occurs, one should seize it as swiftly as possible. He admires Rhodes’ perspective and the world he crafts. I sensed that joining forces with Duran Duran would be something unexpected, something fantastical, beautiful, and extraordinary. No one could have predicted it. I believed he shared this intention in what we were creating together. It was a sheer delight.

For quite some time, Lynch utilized his network in the music industry to gather funds and generate interest for the David Lynch Foundation, an organization dedicated to advocating Transcendental Meditation’s advantages. He organized a string of musical and artistic events on both coasts, such as his well-known Festival of Disruption, and a 2009 charity concert featuring former Beatles members Paul McCartney and Ringo Starr at Radio City Music Hall.

For his 2013 solo album titled “The Big Dream,” he enlisted Swedish singer-songwriter Lykke Li shortly after she moved to Los Angeles. He gave her a coffee-stained piece of paper with some lyrics scribbled on it and said, “Turn these into a song.” She viewed his note as a hint, a mystery, or a question leading to something fresh. She reworked his words “I’m waiting here” as the title for the poignant bonus track called “I’m Waiting Here.” The recording process for this track was unlike regular sessions.

As a movie buff putting thoughts into words, I’d say: “Ever since then, I haven’t repeated that shared moment with anyone else. He was there beside me, guiding my performance as if he were the director. It felt like we were in a trance, and it all came down to feelings and instinct.

Lykke Li acknowledges that Lynch played a crucial role in her life, teaching her Transcendental Meditation at a point when her life was overwhelmingly hectic. She explains, “It wasn’t until I started meditating that I truly found my center, and it opened up everything for me.

As a devoted admirer, I’d like to share some thoughts about the last project David Lynch completed before his passing – “Cellophane Memories,” a joint production with Chrystabell, created in the comfort of his home in 2023 and 2024. A stark departure from the romantic melodies we’ve grown accustomed to in their earlier collaborations, this album ventured boldly into the avant-garde realm through an innovative use of layered vocals and other effects.

Speaking a few days after Lynch’s passing, Chrystabell notes that we both shared a passion for two things: exploring new ideas and crafting creations. His intellect was constantly active and brimming with inspiration. He was always coming up with fresh concepts or ideas.

As they traveled along, this pair also produced multiple tunes in various keys, such as an incomplete piece destined to be titled “Strange Darling.” However, the creative triple threat (filmmaker, painter, and musician) was already setting sights on their upcoming musical collaboration.

As I reminisce, David had a deep affection for a fantastic pop tune. His enthusiasm was contagious as he proposed our future endeavor: “Should we compose chart-toppers the next time around, Chrystabell?” he inquired.

Rather than Lynch, his fellow musicians and associates are grieving this week, cherishing the times they shared and immersing themselves in the work he left unfinished. Chrystabell shares that she’s coping with her dear friend’s demise by revisiting the music he created.

She remarks, “Much of our music seems custom-crafted for these specific instances,” she says, evoking lyrics by Lynch such as “the great unknown,” “angel star” and “10 trillion miles of dark.” “He was right alongside us, delving into that realm. His lyrics ranged from playful and sensual to cosmic, ethereal, spiritual, even approaching hymnal music. I found it awe-inspiring then. Now, it resonates differently.

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2025-01-22 19:02

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