David Lynch - The Big Dream

David Lynch - The Big Dream

Anytime I have ever sat down to watch a David Lynch production, whether it be a film as inexplicable as Mullholland Drive or as stellar as Twin Peaks, it was always a given that the soundtrack would be perfectly curated and sculpted. The Big Dream is just another medium upon which Lynch can express his undeniable talent for creation that is both quirky and thought provoking.

The Big Dream is unique in that it explores many genres without sounding like a compilation or a mix tape of improvised beats and songs. Lynch fashions The Big Dream into an album of niche electro with elements of rock and country. ‘Last Call’ and ‘The Big Dream’ explore the more electronic sounds with typical house drum beats, made interesting by Lynch’s obscure voice that is part overly nasal singing and part spoken word. It could be argued that the album is just a new form of expressing beat poetry, with sung choruses and orchestral synthesisers.

Lynch’s cover of Bob Dylan’s ‘The Ballad Of Hollis Brown’ is perfectly contemporary and slots into the album with ease. It doesn’t sound like a cover one bit. The use of vocoder and throbbing bass guitars create an uneasy feeling on the track as if the song were taken from some futuristic cowboy movie and this is the showdown on the deserted street between the hero and the villain.

The 80s/90s soundtrack elements are also present on The Big Dream. ‘The Line Curves It’ contains the building bass line elements that create the feeling of expectation and fear that viewers would get from tense moments in Twin Peaks and ‘Are You Sure’ sounds like it could’ve been sung from the stage of The Roadhouse.

Whilst The Big Dream is a great album for fans of the David Lynch style, it perhaps might not be able to translate to those unfamiliar with any of Lynch’s previous work. It is bizarre, tense and most importantly, quintessential Lynch.

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