#SONGS IN MULHOLLAND DRIVE SERIES#

Penned with producer and former Roxy Music member Brian Eno (with whom Bowie also collaborated for the Berlin Trilogy of albums between 19, including on major hit “Heroes”), the track was a standout from 1995 album Outside, which was itself partly influenced by the narrative of Lynch’s Twin Peaks. “I’m Deranged” is the track that partners this opening (as well as the film’s end credits) an industrial rock highlight of David Bowie’s vastly underrated experimental electronic era of the 90s. The titular Lost Highway is captured up-close by a speeding camera gliding asphalt at night. Read on for indisputable evidence, then, that Lost Highway – which turns 25 this week – trumps even the best musical moments from Wild at Heart (“ Wicked Game” ), Mulholland Drive (“ I’ve Told Every Little Star” ), Blue Velvet (” In Dreams” ) and even Twin Peaks ( everything ) to take the mantle of being Lynch’s best jukebox movie. Plus, there’s an ethereal, haunting and sublime number from Cocteau Twins ’ Elizabeth Fraser and Robin Guthrie – which Lynch had once “ desperately wanted ” as the main theme in Blue Velvet, but failed then due to the track’s purported expense. It also features music by Rammstein, Nine Inch Nails and Marilyn Manson – industrial nightmare fuel thrown generously upon Lynch’s blazing fire. It’s a rare film to feature music from the three glam-rock gods, Lou Reed, David Bowie and Brian Eno, who were each enjoying what was, for my money, the most interesting creative periods of their careers in the 90s (music that remains bafflingly underrated even to this day). Mulholland Drive is rightly considered a masterpiece, but Lost Highway, I’m certain, is at least Lynch’s best soundtrack movie. The doppelgänger theme, meanwhile, becomes relevant when you take a close look at the beguiling narratives of each film. The relationship between the two films is further compounded by the prominence of a distinctive main character: the city of Los Angeles, both as a fantastic paradise and terrifying nightmare. Whereas Mulholland Drive pursues the dreams and fantasies of a naive female actor, Lost Highway offers a masculinised narrative rooted around the perspectives of its troubled male leads. I consider the former something of a sibling feature.

I’ve always felt that Lost Highway – a harrowing journey into the depths of the human psyche via the tales of an avant-jazz saxophonist and a young car mechanic, each of whom is in love with a beautiful femme fatale – is overshadowed by the acclaim proffered to Mulholland Drive, Twin Peaks and Blue Velvet.

#SONGS IN MULHOLLAND DRIVE SERIES#

When Twitter users united virtual hands this year to wish David Lynch a collective “happy birthday” (the director’s 76th) in January, a few thoughts popped into my head.įor one, what’s Lynch been up to recently aside from streaming weather reports and picking a “lucky number” every day from his home in Los Angeles? Second, what’s the latest with Wisteria (AKA Unrecorded Night ) – the new series he was rumoured to be shooting for Netflix before the streaming platform apparently pulled out in 2021? And lastly, with Mulholland Drive getting a 20th anniversary restoration in 2021, how long will it be until we get a similar revival of attention for my favourite Lynch film, Lost Highway ?

Songs in mulholland drive