Since the cavernous industrial noise of Eraserhead, music has occupied a prominent place in the work of David Lynch. Blue Velvet re-imagined Roy Orbison as an echo-drenched psycho-delic operatic crooner, Twin Peaks introduced the world to Julee Cruise and created an influential version of jazz noir, Inland Empire revealed the horrors lurking amidst the massed strings of Mantovani while Lynch himself has devoted increasingly more of his energies towards pop and rock production.
Featuring music from his TV and films, by influences and influenced, and from Lynch himself, Lynchian Psychodrama presents an hour of bipolar sonic merriment. Let's Rock!
Lynch's use of 1950s music references retro futurist concerns:
Yes, it's a fifties thing. Banal in a way. But it's kind of removed from that also. Misplaced, almost. A fities/nineties combo was what Twin Peaks was all about. We weren't making a period thing.
The guitar and echo in this sequence demonstrates his point: