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Twin Peaks

DRW50
in CBS | Paramount+ | Showtime

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I've said this before, but the Johnny Jewel (from Chromatics) album of music for Season 3 (Themes for Television) is stunningly good. Evocative of Angelo Badalamenti's work but new as well. Pieces of it were used in the shadow (Windswept, Shadow, Saturday) but not much. I'm happy with the music mix as is given Lynch's love of silence and tonal sound, but I do wonder what it'd be like to have had it actively scored with more of this.

 

Here's a playlist:

 

 

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    More from the FX house involved. There's pix and notes on many sequences.

    Edited by Vee

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    Chromatics' Johnny Jewel talks his music, Twin Peaks and soap opera:

     

     

     

     

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    Your song “Windswept” ended up being a pretty central part of Twin Peaks: The Return. I read that it was named after the street you were born on in Houston? 

     

    I was born in the Heights, but that’s the house we lived in when I was born.

     

    Did having that song featured on the show feel like coming home, in a way? 

     

    It didn’t feel like coming home. Ever since I left Texas I feel like I’ve been floating in outer space. Texas still feels like home: the weather and the grass, and the smell when the rain hits the oil on the pavement. Those moments are burned into my psyche so deeply that everywhere else feels like I’m in transition.

     

    What was crazy was that I first watched Twin Peaks in Houston, and the very first time I watched it … our neighbor had shot himself with a rifle. I heard the cracking sound, and I was like, “Okay, that’s odd.” I didn’t really know what it was.

     

    And then as [my then-girlfriend Heather and I] were watching the pilot at my mom’s house, there were police sirens in the show. I remember police sirens being projected onto the wood paneling. And it took me a while to realize that it was coming from the outside, and someone knocked on the door and it was the police. Basically, the guy shot himself and then went kind of crawling up to our doorway. And then because of that, the police were all outside the house trying to figure out if there was somebody in my house that had done this.

     

    Whoa. I’m sorry to hear that. How old were you when this happened?

     

    I would have been 16 or 17. It was confusing. It wasn’t scary, it was just really, really strange.

     

    So I started off my relationship with Twin Peaks in my mother’s house with this sort of eerie set of circumstances. I had seen Eraserhead, I had seen Elephant Man. Doing “Windswept” wasn’t really a reference to that. It was more about this dream I was having about leaves blowing around in this negative black space. “Windswept” is like a beginning of my first house. But it’s one of those classic slow jazz kind of titles. So I got really into that idea, and then of course not having any clue that it would be used in the show. But Twin Peaks is something I visited and revisited throughout the course of my life at different times.

     

    Recently you released Themes for Television, which includes music originally meant for Twin Peaks. What television themes were important to you as a young person?

     

    I really love soap opera music: The Young and the Restless, Days of Our Lives, Guiding Light. Very melodramatic, foreboding scores with that hovering, omnipresent stress. Or fatalistic romance. I’m not a scholar of anything in particular, I definitely have distinct memories. The more horrific tones of Fantasy Island, when things would turn dark. It’s similar to The Twilight Zone, which I also love. When people would get what they want, then it would have this strange twist. Usually rooted in some ego lesson.

    Edited by Vee

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    From the above:

     

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    Does he have any movie projects or more TV projects lined up?

     

    “I don’t. I have a box of ideas, and I’m working with producer Sabrina Sutherland, kind of trying to go through and see if there’s any gold in those boxes.”

     

    Has he finished forever with the world of Twin Peaks?

     

    “Well, for right now, you could say I don’t want to talk about that,” he says flatly.

     

    Could Agent Cooper return to solve another Blue Rose mystery?

     

    “If I don’t want to talk about it, I can’t even answer that.”

     

    Meanwhile:

     

     

     

    Edited by Vee

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    Oh wow:

     

     

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    One of the unreleased Johnny Jewel/Chromatics tracks donated to the now-funded Catherine Coulson Kickstarter:

     

     

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