Twin Peaks (Season One TV Soundtrack)
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Free Music Notes for Twin Peaks (Season One TV Soundtrack)
Free Music Review: Freaky, but very very good.
Hit: 5 Stars
This is no doubt one of the most original soundtracks ever, to one of the most original tv-series ever. This soundtrack is as good as the series, continuing the mystiscm and paranormal feeling. There is no other soundtrack that can make my hair raise on my back like this, it makes it all come back to me, all the scenes from the amazing series.It has one of the best, well known theme songs ever, "Falling". It is considered a lovesong, a relaxing song, whatever you call it, it is called genious.
The rest of the songs are more unknown, except for the song that is in the intro and outro in the series. It is a great song too. The rest of the soundtrack ranges from jazzy laidback music(Or should I say muzac), to direct freaky eerie sounds. This is not your ordinary soundtrack, and listening should be avoided with lots of friends, as it can seem to weird and freaky for some. But for those cold nights alone when you want to get a long trip down the memorylane back to Twin Peaks, there is nothing better(except the series) than this soundtrack. Excellent, but hard to describe. Highly recommended, but may be hard to find.
Free Music Review: Mood Music
Hit: 4 Stars
If you don't listen too intently to the Twin Peaks soundtrack you have a great piece of mood music. The tracks are quite simple and are not by any means great musical pieces. They are nicely mysterious but just as they worked great as a backdrop for the series, they should only be listened to as background music. If you're expecting much more you will be disappointed.Free Music Review: One question...
Hit: 5 Stars
In the pilot when Bobby is having some breakfast at the Double R he plays a song for Norma and Heidi on the jukebox.WHERE IS THAT SONG?
It's one of Angelo's freakier tunes.
Free Music Review: Another perfect David Lynch soundtrack
Hit: 5 Stars
One of the sometimes-forgotten keys to the success of David Lynch's films is his use of composer Angelo Badalamenti. Badalamenti's moody compositions -- with their almost introspective, otherworldly sounds -- often times seem to be the key to lulling visitors into the world of Lynch's imagination. Often, Badalamenti's music so perfectly matches Lynch's images that it becomes impossible to seperate the two. Certainly, this is true of the score Badalamenti composed for Lynch's groundbreaking TV series, Twin Peaks. Even though Twin Peaks was cancelled over ten years ago, the minute I hear Badalementi's haunting theme music, I can automatically the deceptively placid opening images of the series' opening credits as clearly and perfectly as if I had just seen the show last night. Twin Peaks, as with most of Lynch's work, dealt with the chaos that usually raged beneath the safest exteriors and Badalamenti's score -- serene yet strangely ominous and always suggesting soemthing lurking right around the corner -- perfectly captured that theme. With soundtracks growing more and more bland (especially television scores, which are usually designed to be as unmemorable as possible lest a viewer be turned off), Badalamenti's work on this soundtrack serves as wonderful evidence of what a truly talented and individual composer can do even within the confines of the soundtrack genre.Also, note should be made of singer Julee Cruise's contributions to the soundtrack. Much like Badalamenti, Cruise's music has an otherworldly, slightly melancholy feel to it but whereas Badalamenti takes you back to the series' sense of menace, Cruise's songs serve to remind you of the romantically hopeful idealism that occasionally surfaced as well. If Badalamenti created a world where Laura Palmer could be murdered by her own father, Cruise's songs remind you that it was also a world where Leland Palmer could find forgiveness for his crime.
All in all, an amazing soundtrack for fans and nonfans of the show alike. When listening to both Badalamenti and Cruise, even the most common of sights takes on new depth and meaning. To me, the sign of a great recording is whether or not it changes the world around you while you listen to it. This soundtrack certainly does so.
Free Music Review: A Close Second to The Straight Story
Hit: 5 Stars
Let us, for a moment, take the mediocre television series of the same title out of the picture when mentioning this soundtrack. I say this because it is a wonderous tale of musical genius that is over far sooner than it should be and leaves a permanent, far more significant impression than the TV show ever could. First off, I am more than in favor of a director of film who lives and dies by the same composer, regardless of the movie (or in this case, show) he/she is crafting. Music and film can be like the perfect marriage and when a specific director and composer are on the same page with a formula that works, there is no conceiveable reason for the two to break company. Look at Steven Spielberg and John Williams. Similar in relationship but vastly different in narrative scope are David Lynch and Angelo Badalamenti. My first experience with Badalamenti's work was the soundtrack for another Lynch film entitled, Lost Highway. It was a good soundtrack, but mixed with Trent Reznor's implausible vision and a handful of Marilyn Manson B-sides, it was like a nightmare machine of parts that didn't function properly. Being a Lynch fan, I purchased his next film's soundtrack, which came from The Straight Story. It is and will always be on of my favorite musical possessions. The music was triumphant and powerful at the same time it was sweet and sincere. Listening to it made me feel like I was immersed in world of complete warmth and tranquility. Lynch intended for the Straight Story to be a calm, freshly innovative new approach for him as a director and the music that spawed from this departure was nothing short of ethereal. It wasn't long after that I purchased the soundtrack to Twin Peaks and it brought me back to where I was with the Straight Story music, but not in the same fashion. With the Straight Story, I felt completely sober in a world that only existed in peace and generosity, like a pseudo-utopia if you will. But with Twin Peaks it was like I returned to that peaceful realm only to find that it was shrouded in gray clouds and delivered more of wintery chill. Intoxicated, I also found a girl in a red dress waiting for me and I knew she loved me, but all the same I was apprehensive about her companionship. I felt as though I could not trust her. I guess that plays in more with the Twin Peaks atmosphere, in as much as you're dealing with an entire TV series based on a town where no one can be trusted. The music conveys that notion beautifully. Again, my whole perfect-director-composer-marriage thing. But I do recommend picking up this CD, whether you're a fan of the series or not. But listen to the Straight Story first and maybe Lost Highway. Then pop this in your CD player and see where it takes you.