The return of David Lynch’s Twin Peaks was far and away the strangest thing to happen in 2017. Trump’s election? Forget that. Go and watch episode eight of the new season – ‘Gotta Light?’ – then tell me you’ve seen anything more perplexing, terrifying and brilliant since the beginning of January.
It wasn’t for everyone, no doubt. Season three was challenging right from the get go, with an experimental and bizarre first episode that I’m sure turned many off. I wasn’t convinced at first, either, but as the show went on I began to realize the genius behind its disjointed and jarring transitions, its flatly sinister tone and mysterious side stories with no obvious purpose.
It was also absolutely hilarious at times, in a way that Lynch very often doesn’t get credit for. How about the scene where Jerry is taking a drug-addled stroll through the forest and then hallucinates that his foot is talking to him? The brilliant five-minute cameo of Michael Cera as ridiculous cool-guy Wally Brando? The countless moments of slapstick brilliance with Dougie, AKA Mr Jackpot?
Season three was an enigma, full of hilarity in horror in equal measure. And a large part of its mystique comes from Angelo Badalamenti’s incredible soundtrack, much as was the case in the show’s first two seasons. Twin Peaks has some of the most instantly recognizable and iconic TV themes of all time, no question – the sweeping nostalgia of the title theme, the sinister and lovesick ‘Laura Palmer’s Theme’, the whimsical ‘Audrey’s Dance’…
These classics make their way on to the soundtrack of season three, too, but they sit alongside new pieces from Badalamenti, as well a couple of contributions from other musicians who are favourites of Lynch. Chromatic’s Johnny Jewel offers up the sultry and spellbinding ‘Windswept (reprise)’, while Polish composer Krzysztof Penderecki’s horrifying ‘Threnody for the Victims of Hiroshima’ sets every nerve on edge.
Badalamenti’s new pieces range from chilling (‘Dark Mood Woods’) to mystical (‘The Fireman’), to rapturous (‘Night’). He wrings drama from every note and chord of these ambient songs, all of which are relatively simple in composition and yet infinitely evocative. And he manages to bring them all together into a cohesive project alongside existing music from his own back catalogue, and that of his guest musicians.
Twin Peaks (Limited Event Series Soundtrack) is its own self-contained world, and that is just about the highest praise that can be heaped upon a soundtrack. Listening to it brings back strong memories of the show’s distant and recent past, but it is also evocative enough to suggest so many more scenes – perhaps even alternate realities – within the show’s dazzlingly strange universe. Grab yourself some coffee and a donut, put some wood on the fire, and stick this on your speakers. You won’t regret it.