In 1985, a mutual colleague introduced Badalamenti to Lynch, who needed a voice coach for Isabella Rossellini, the star of his new film Blue Velvet. After graduating with an MA from the Manhattan School of Music, he built up a diverse CV under the anglicised alias Andy Badale, writing songs for Nina Simone, composing musicals, scoring crime movies and working with the French electronic music pioneer Jean-Jacques Perrey. He grew up in a musically inclined Sicilian-American family in Brooklyn and began composing on the piano when he was 10, already drawn to the “beautiful darkness” that would define his career. Every generation discovers it and falls in love with it.”Īngelo Badalamenti turned 80 this week. “A few weeks ago, I went to see Fire Walk With Me in Melbourne and there were 18-year-olds clamouring to buy the soundtrack on vinyl. “It’s timeless, isn’t it?” says Clare Nina Norelli, an Australian musician and author of the new book Soundtrack from Twin Peaks. So although Twin Peaks is returning in May for a third season, it has never really gone away. A benefit concert organised by Lynch in Los Angeles in 2015 featured the Flaming Lips, Karen O, Zola Jesus and Duran Duran playing the music of Twin Peaks and of his movies. You can detect it, whether implicit or explicit, in Lana Del Rey’s doomed prom queen persona, Bastille’s song “Laura Palmer”, the gothic pop of Sky Ferreira’s Palmer-quoting “Night Time, My Time”, the sweet yet sinister ambience of the band Beach House, and much more. Nevertheless, in recent years it has cast its spell over pop yet again.
TWIN PEAKS SEASON TWO MUSIC MORE MOVIE
A confused second season and a divisively strange movie prequel without Frost’s involvement, Twin Peaks: Fire Walk With Me, returned it to the cultish realm that Lynch’s work usually inhabited. Twin Peaks’s mainstream success lasted only a few months. I see Twin Peaks.” They had just written “ Laura Palmer’s Theme”.
It took just 20 minutes and Badalamenti suggested developing it further, but Lynch replied, “Don’t change a single note. Badalamenti steadily climbed the keyboard, resolving the melody on an ecstatic high before falling back into the night. “Just slow things down and it becomes more beautiful.” Now, he said, picture a distressed teenage girl emerging from the darkness, getting closer. Badalamenti picked out an ominous, low motif. The wind was blowing, an owl was hooting. In Lynch’s head, music, imagery and narrative were inextricably intertwined, so he told Badalamenti to imagine he was alone in woods at night. Lynch and screenwriter Mark Frost were about to start making Twin Peaks, a through-the-looking-glass soap opera in which a murder exposes the secret life of a small town in the Pacific north-west of the United States, and they needed a soundtrack. It was 1989 and the director was sitting next to the composer Angelo Badalamenti at the keyboard of a Fender Rhodes in the latter’s Manhattan office.
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