Remembering Twin Peaks (part 1)

The art of David Lynch made a lasting impression on me. In memory of his life, that ended exactly a year ago, I decided to jot down some personal recollections I have of his work — the first being Twin Peaks.

September 1st 1991 was the first time Twin Peaks was broadcast on Dutch television. All 30 episodes of the series had been finished in the United States a couple months earlier; before long, cable TV station RTL4 owned the rights to broadcasting the show in the Netherlands, and could have started any damn time they pleased. While they decided to sit on it until the whole thing was finished, early birds were already tuned into the BBC, and could pace along with just a couple weeks worth of delay. The rest had to wait it out, so as was to be expected, all the initial hype surrounding Twin Peaks blew past the Netherlands mostly unnoticed. 

Not that it made any difference for me personally. Up until halfway 1993, the tiny little village I grew up in didn’t have cable television anyway. The ginormous TV antenna in our yard sure was impressive, but only reaching as far as Belgium and Germany — the BBC was clear out of range — the only things it delivered into our home were easily digestible serial shows, mostly Dutch and British comedies, and German crime procedurals. I didn’t know there was anything more. But much like teaching me there was more to be found in music beyond the confines of traditional radio, music magazine OOR caught up early on the unexpected hype surrounding Twin Peaks in the States. As early as 1990, the magazine covered everything about Twin Peaks before the second season was even finished. Memory is an elusive thing, and although I don’t think Twin Peaks caught my immediate attention at the time, at the very least my brain must have filed away some tiny fragment of information about this mysterious TV show.

When September 1991 came rolling by, and Twin Peaks launched in the Netherlands for real, OOR devoted another two articles to the show, its characters and its creators, trying to drum up a hype of its own. In hindsight it’s quite funny: RTL4 were so late to the party that by the time Twin Peaks launched and some hype was being manufactured, in the United States the show was so dead and buried it was like it never even existed. The ratings waned dramatically as the second season progressed, so much that most of the interest in the series ending or the prequel movie dried up completely.

Late 1993, in what felt like the very last goddamn village in the whole of the nation, sturdy men finally started digging trenches and laying cables, bestowing upon us the divine gift of MTV. I remember my parents being reluctant about getting a subscription, and it might have taken some persuasion from their children to convince them it was better to just give in.

With all interest in the show gone and the misconceived prequel movie a dud, Twin Peaks’ first re-run in the Netherlands was an event of little spectacle. Freshly launched RTL5, aimed at “youth, men, and intellect” and boasting shows like Miami Vice and Beverly Hills 90201, included Twin Peaks in the wee hours of Saturday night by nothing more than legal obligation — they had to do a re-run within two years of its first airing. I don’t remember if seeing the first episode of Twin Peaks was something I planned in advance, clearing my schedule so to speak, or if it might have been sheer luck: a Saturday night on which I just had no plans, leafing through the TV guide, coming across some insignificant little announcement — when suddenly it dawned on me that this time around, this mystifying show was something I myself could experience.

More to come in the next part

Happy happy 25th birthday to Fireflies.nl!

David Lynch, one of my all time heroes, whose works of singular magic left warmth in my soul and scars on my heart forever, has passed.

Further revision of the message I posted yesterday: it has been even longer since I last finished a hardware only song. The tracks I posted on SoundCloud in 2013 were made somewhere between 2002 and 2006, so that would place the last one of those tracks some 17 or 18 years ago.

I moved away from DAWs and plugins and made my first two tracks with hardware only finished my first two tracks using hardware only in 11 years: Bid, Raket, Maan and Paaspoezenijne.

  1. Horsegirl - Versions of Modern Performance listen to “Beautiful Song” (YouTube)
  2. Skullcrusher - Quiet the Room listen to “You Are My House” (YouTube)
  3. DEHD - Blue Skies listen to “Bop” (YouTube)
  4. Tomberlin - I Don't Know Who Needs to Hear This... listen to “Happy Accident” (YouTube)
  5. Ghost Car - Truly Trash listen to “Selfish, Spoiled” (YouTube)
  6. Guerilla Toss - Famously Alive listen to “Cannibal Capital” (YouTube)
  7. Destroyer - LABYRINTHITIS listen to “All My Pretty Dresses” (YouTube)
  8. fanclubwallet - You Have Got to Be Kidding Me listen to “Gr8 Timing!” (YouTube)
  9. Florist - Florist listen to “Sci-Fi Silence” (YouTube)
  10. Big Thief - Dragon New Warm Mountain I Believe in You listen to “Time Escaping” (YouTube)

Finally having some time to finish up a new song resulted in "Firma". As always, it doesn't take any longer than is needed for getting the point across.

My favorite albums of last year:

  • Midwife - Luminol listen to “Enemy” (YouTube)
  • Dummy - Mandatory Enjoyment listen to “Daffodils” (YouTube)
  • Low - Hey What listen to “Disappearing” (YouTube)
  • Yasmin Williams - Urban Driftwood listen to “Dragonfly” (YouTube)
  • Squirrel Flower - Planet (i) listen to “Hurt A Fly” (YouTube)
  • Caithlin De Marrais - What Will You Do Then? listen to “Gambling Heart” (YouTube)
  • Cold Beat - War Garden listen to “Arms Reach” (YouTube)
  • STUFF. - T(h)reats listen to “OB499” (YouTube)
  • Julia Shapiro - Zorked listen to “Wrong Time” (YouTube)
  • Makthaverskan - För Allting listen to “All I've Ever Wanted To Say” (YouTube)
  • My favorite albums of last year:

    1. En Attendant Ana - Juillet listen to “In/Out” (YouTube)
    2. Melenas - Días Raros listen to “En Madrid” (YouTube)
    3. Gum Country - Somewhere listen to “Jungle Boy” (YouTube)
    4. Lady Di / Mega Emotion - I Know You Know I’m Perfect / Move, Motherfucker listen to “Peanut Cup” (YouTube)
    5. Frances Quinlan - Likewise listen to “Went To L.A.” (YouTube)
    6. Eefje de Visser - Bitterzoet listen to “Zwarte Zon” (YouTube)
    7. Silverbacks - Fad listen to “Last Orders” (YouTube)
    8. Alexandra Savior - The Archer listen to “Howl” (YouTube)
    9. Porridge Radio - Every Bad listen to “Lilac” (YouTube)
    10. Sad13 - Haunted Painting listen to “Ghost (Of A Good Time)” (YouTube)

    For the first time in about eight months I found the time to finish a song. It's called "The Morgai".

    Mark Linkous was an exceptional artist who spent most of his life in relative obscurity. Although he was somewhat of a hermit, his musical collaborations went far and wide, and included even my other unfathomable hero: David Lynch, someone Mark himself admired. But the music that touched me the most were the songs he made by his lone self, in his cramped spider-infested studio, all sounds of his surroundings, from creaking toy pianos to his mom on the answering machine, leaking into his whisper quiet songs. He truly created some of the most beautiful music I've ever known in my life.

    One of the most meagerly courageous things I ever did was walking up to Mark when I saw him strolling along after a show in Utrecht, to shake his hand and stammer something about how much I loved his music. Although he was in a hurry, he genuinely appreciated it and thanked me - then he went on his way.

    Mark took his life 10 years ago today. It sometimes still is hard to come to terms with the fact that he's no longer around.

    I made yet another song, going for something different this time. I called it "Exy", a title I partly took from the Speedy Ortiz song "Hexxy".

    New Wolfshoek song called "Katydid", that has been half-finished for about a year. You might recognize the drums from Death Cab's "Amputations".

    My favorite albums of last year:

    1. Pip Blom - Boat listen to “Ruby” (YouTube)
    2. Mannequin Pussy - Patience listen to “F.U.C.A.W.” (YouTube)
    3. Club Night - What Life listen to “Thousands” (YouTube)
    4. Bill Callahan - Shepherd in a Sheepskin Vest listen to “747” (YouTube)
    5. Caroline Polachek - PANG listen to “So Hot You're Hurting My Feelings” (YouTube)
    6. Ex Hex - It's Real listen to “Diamond Drive” (YouTube)
    7. Sleater-Kinney - The Center Won't Hold listen to “LOVE” (YouTube)
    8. Teeth of the Sea - Wraith listen to “I'd Rather, Jack” (YouTube)
    9. FEELS - Post Earth listen to “Awful Need” (YouTube)
    10. Priests - The Seduction of Kansas listen to “Carol” (YouTube)

    Made a new song, a bit different from the sweet little tunes I posted earlier. It's called “De Luwte

    Twenty years ago today, I first saw “The Blair Witch Project”. You've probably seen it too. I went into the theatre knowing just enough about the movie to spark my interest, and yes, I was fully aware it was all fabrication. It turned out to be a nerve jangling experience from which I never fully recovered. Seeing the film wasn't exactly enjoyable in the general sense – 'exhausting' is a better way to describe it. Movies didn't usually shake me this way, and I left the theatre with a huge admiration for what I just saw.

    My admiration steadily grew into an obsession after discovering that “The Blair Witch Project” was part of a much bigger story, all of it meticulously pieced together before the theatrical release was even concocted. More than a year before anyone took a camera into Seneca Creek State Park, these eight minutes were all the Blair Witch Project was. At that time, the movie that would come to unnerve the world was no more than a suggestion, but the story that it was a part of was already there.

    Like other stories of unexplained disappearances and ghostly apparitions, the witch mythology that the creators dreamt up is haunting in itself, more so because it doesn't provide any answers. The lengths to which they went to convincingly execute upon this story is astounding to this day. I mean, they so not broke character that in a faux documentary about their faux documentary, the creators referenced the entirety of the Blair Witch theatrical release as just “some scary noises in the woods at night, and a few examples of that”.

    What caught me the most about this story is the steady pace in which the centuries-old witch mythology crept ever closer, then suddenly took a leap into the present day. Allowing for the just the tiniest notion that mysteries do exist in this world.

    Pitchfork retroactively reviewed a b u n c h of Stereolab's earliest records, which is great. Even though the band is in the process of reissuing some of their back catalog through their own Duophonic label, I don't believe these five each are part of that. And Pitchfork didn't even review all of Stereolab's early albums, because the often overlooked “Space Age Batchelor Pad Music” again is ignored.

    I never felt sure about the respawning of Sleater-Kinney. Their breakup in 2006 was a blow to the stomach – more so because I never saw them live, coupled with the fact that they quit right after releasing 2005's earth-shattering The Woods. Sleater-Kinney left behind a legacy that's out of this world. They unexpectedly returned ten years later with an album that sure was good, but didn't nearly sweep me off my feet like every single one of their previous albums did. No Cities To Love felt too polished, too calculated, even had one or two outright clunkers on it. But then again, selfishly speaking, they needed to make this album so that I'd been given a chance of seeing them live. It sure was an unforgettable experience.

    Janet quitting the band, stating that Corin and Carrie are "heading in a new direction and it is time for me to move on", has left me worried that my favorite band in the world might be off to territories where I won't follow. St. Vincent, who produced the album, herself took a hard turn away from rocking the fuck out and towards highly stylized and detached albums and live shows. To be honest, that's not what I wish upon Sleater-Kinney. I like them to shred and rip it up, sheer tornado force that they are, Janet hammering on the drums. Carrie must remember admitting being afraid that "toothlessness was where we seemed to be headed in indie rock."

    It's the ruthless fangs of nostalgia, of course. I don't want the days of "Jumpers" to be gone. But I also don't want to withhold Sleater-Kinney any chance of renewal – it's their call to make, their music will always mean the world to me. But maybe I can't follow them every turn they take.

    Bill Callahan's new album is gorgeous gorgeous gorgeous. His music drifted away from me since the stellar "Sometimes I Wish We Were An Eagle", which was released a stunning 10 years ago, and still is one of my favorite records ever. Callahan will be playing in Utrecht later this year, at the same venue where I last saw him.

    I got an emergency ticket to the Best Kept Secret festival, should I not have been able to find a way into Stereolab's sold-out show at the Botanique in time. Although I suppose outdoor festivals this size aren't for me, it was great seeing Stereolab again, and Priests later that day. Their off-kilter songs sent some of the crowd out the door perplexed, but I thought they were awesome.