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Skinny Dip. Like I Told You. As Long As. Funeral Song. Everything You Do. Passage. Console Me. Beautiful Blaze. My Wife And I. Paper and Tuning.

David Lynch's second solo album. He gets to play the guitar in this one (Parker Fly electric).

1990 Снял гротескное роуд-муви Дикие сердцем.

2017 Объявил об уходе из кино.

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The discography of David Lynch, an American director and musician, consists of three studio albums, two collaborative studio albums, six soundtrack albums, two spoken-word albums, one extended play, twenty singles and six music videos. Lynch's first featured release was the soundtrack to his 1977 debut feature film Eraserhead, which was released on .

Artist: David Lynch, David Lynch. David Lynch, David Lynch - A Place In The Wind The Classic Collection, 2010 07:37. David Lynch, Lakis Zois, Marcos Alexiou, Stefanos Stefanopoulos, Takis Paterelis, Vangelis Anagnosopoulos - Maria and George Esoteric, 2008 05:24. Artist: David Lynch David Lynch.

David Lynch - Слушайте David Lynch на Deezer. Благодаря потоковой трансляции музыки на Deezer вы можете слушать более 53 млн треков, создавать свои плейлисты и делиться любимыми песнями с друзьями. As one of the world's great filmmakers, David Lynch became renowned for creating surrealist classics such as The Elephant Man, Twin Peaks and Mullholland Drive. His hand in their eerily beautiful soundtracks led him to delve further into music, building his own studio at his house and writing and producing two albums for r Julee Cruise. It led to Rob Da Bank signing him to his label Sunday Best Recordings for the album Crazy Clown Time (2011), a typically odd collection of melancholy electro and twanging nourish guitars featuring Karen O of Yeah, Yeah, Yeahs.

David Lynch Articles and Media. David Lynch and Angelo Badalamenti’s Lost ’90s Album Is Getting Released. by: Braudie Blais-Billie. David Lynch Narrates New Short Film Curtain’s Up: Watch. David Lynch Writes Open Letter to Trump, Says Pro-Trump Quote Taken Out of Context.

David Lynch's musical legacy is not one to be trifled with. Throughout his many decades of film work, Lynch has made it a priority for the musical impact of his films to be just as haunting and brilliant as the visual. From the dystopian terror of his and Peter Ivers' Eraserhead soundtrack to his fruitful relationship with Angelo Badalamenti (Blue Velvet, Twin Peaks, Mulholland Drive), Lynch's soundscapes have given us a cerebral experience altogether unlike any other. But in 2011, we got a taste of what a Lynch record looks like when nothing stands between Lynch and the final musical product. As can be expected, his debut LP Crazy Clown Time was a lot. This avant-garde record rocketed across the musical horizon at pretty jarring speed, at times synthesizing 50s rock and at others alienating house grooves to isolationist territory.

David Lynch is to release a second solo album, described as a "tighter" and "more confident" followup to 2011's Crazy Clown Time. The Big Dream, due on 15 July, includes a cover of a Bob Dylan song and a collaboration with Swedish indie star Lykke Li. Whereas Lynch's last LP was generally portrayed as a weird dance album, The Big Dream is described as "a hybrid, modernised form of low-down blues". Most of the songs start out as a type of blues jam and then we go sideways from there," Lynch said in a statement. The blues is an honest and. I keep coming back to it because it feels so good. Like Crazy Clown Time, The Big Dream was recorded with engineer Dean Hurley. Sometimes the lyrics come first but mostly the music is talking to you about how it wants to be, and then the lyrics are born out of that," Lynch explained to Billboard.

Plus, see David Lynch gig dates in London. The Big Dream’ is Lynch’s follow-up to ‘Crazy Clown Time’, made once again with studio engineer Dean Hurley. It’s less experimental and perhaps less adventurous, but it’s also a good deal more focussed, coming in 20 minutes shorter than its predecessor. Lynch has tightened his formula, looking backwards to blues and early rock ’n’ roll for structure, rhythm and melody – but without abandoning either the electronic elements of ‘Crazy Clown Time’, or the sheer weirdness with which the director has become synonymous