NEW YORK – The loss of singular talent and visionary filmmaker David Lynch is not only felt in the world of cinema, but music, where he had inextricable influence on multiple generations of artists.
Lynch, whose death was announced Thursday, composed music for many of his films, collaborated with others, directed music videos, released albums and inspired legions of creatives.
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You know his films, now, learn about his musical legacy. (You can hear all of the tracks on our Spotify playlist.)
“In Heaven” from “Eraserhead”
Lynch composed much of the soundtrack to the clangorous “Eraserhead,” his 1978 debut movie. It foreshadows both a long career in film and an enduring interest in using music to establish a surrealist ambience in his work. “In Heaven" holds particular resonance in the film. It's performed by a woman who lives in protagonist Henry Spencer's radiator, for one thing. It has been embraced by legions of indie rock fans. The Pixies have covered it and it is interpolated into Modest Mouse’s "Workin’ on Leavin’ the Livin’."
Chris Isaak, “Wicked Game”
Chris Isaak’s 1989 desert ballad “Wicked Game” did not become a hit until it was included in Lynch’s 1990 romantic crime drama “Wild at Heart" starring Nicolas Cage and Laura Dern. And that, my friends, is Lynch's musical power.
Angelo Badalamenti, “Twin Peaks” theme
It would be a challenge to name a music and film collaboration stronger and more ideal than the one between Badalamenti and Lynch. They first worked together on 1986's “Blue Velvet," leading to a long partnership (and, no doubt, armies of new Roy Orbison fans, given his placement in the film). But it's Badalamenti's theme for “Twin Peaks” that fans no doubt think of first when their names appear.
The singer Julee Cruise had a hit in the song, titled “Falling." It is the perfect distillation of the show's beauty, mystery and violence — and that of its setting, the foggy Pacific Northwest.
Moby, “Go”
Moby sampled the “Twin Peaks” theme in his 1991 single, “Go,” transforming the song into a career-making rave.
Later, in 2009, Lynch would direct a music video for Moby's "Shot in the Back of the Head.” He had quite the run as a music video director, working with everyone from Nine Inch Nails and Donovan to the German nu-metal band Rammstein.
David Lynch, “Thank You Judge”
In 2001, Lynch released his debut album, “BlueBOB,” a sometimes industrial, goth-y (no surprise there) blues rock full-length. At times, it recalls the avant-garde no-wave of a cult classic band like Pere Ubu — particularly on the track “Thank You Judge.” It is very distorted, very reverb heavy, and very much not for the faint of heart.
David Lynch and Karen O, “Pinky’s Dream”
In 2011, Lynch released the album “Crazy Clown Time," producing the standout electro-pop opener “Pinky's Dream." It features the great singer Karen O, frontwoman of the '00s New York rock band Yeah Yeah Yeahs.
David Lynch and Lykke Li, “I’m Waiting Here”
On his third album, “The Big Dream,” Lynch teamed up with Swedish singer Lykke Li for the dreamy “I'm Waiting Here,” a breathy, depressed doo-wop anti-hit that sounds like it was recorded in the spot where a sunset horizon hits an open road.
Chromatics, “Shadow”
In 2017, 26 years after the end of the second season of “Twin Peaks," the show returned for a limited series, “Twin Peaks: The Return.” It featured tons of performances from Lynch-approved acts — Nine Inch Nails, Eddie Vedder, Sharon Van Etten and of course Julee Cruise among them. But a performance by the Portland, Oregon synthpop band Chromatics in episode two stands out. The song is “Shadow,” and it is so undeniably perfect for the show, the band appears as if they were made for it.
Flying Lotus, “Fire Is Coming”
Lynch is the first voice heard on Flying Lotus'"Fire Is Coming" — a distinctive orator and storyteller, and a curious choice to open to a beat-heavy track from the inventive DJ. But looping Lynch saying the title track over and over again? That's an inspired decision.
Chrystabell & David Lynch, “Sublime Eternal Love”
In her review, The Associated Press' Krysta Fauria describes Lynch's last album, “Cellophane Memories” a collaboration with the artist Chrystabell, as “surrealist” and “difficult to categorize within a genre.” She argues it can only be defined by its “austere lyrics and ambient soundscapes carried by Chrystabell’s hypnotic, reverbed vocals.” Now that it has become Lynch's final album, it doubles as a fitting coda — as does its closing track, “Sublime Eternal Love." It's a haunting, romantic vocal performance atop modulating synthetic production, the kind sound long associated with Lynch.