Here at The Key, we spend a lot of time each week digging through every new release from Philadelphia that shows up on Bandcamp. At the end of each week, we present you with the most interesting, most unusual and overall best of the bunch: this is Items Tagged Philadelphia.
Sometimes you don’t realize how much you need something until you’re immersed in it.
Like a lot of people my age, I fell powerfully into the work of filmmaker David Lynch some twenty years ago; the spark for me was Lost Highway, the cerebral/abstract noir-erotica mystery scored by Nine Inch Nails’ Trent Reznor. I was moderately obsessed with that band in my younger days; Reznor could have scored a Raisin Bran commercial and I would have been freaking the heck out. Thankfully, Lost Highway was a bit more rewarding as a cinematic work, and through it I worked my way backwards through Lynch’s filmography. First to Twin Peaks, his surrealist serial TV show that confounded audiences for two seasons in the early 90s — for most, this was probably their entry point — and further back still to Eraserhead and (god help me) Dune.
I’m a fan of Lynch’s work to this day. I love that I live in a city where a prominent music venue and art space celebrates him once per annum, and I was thrilled that I got to see Lynch speak at the Prince Theater upon the occasion of his painting exhibition opening at PAFA in 2015. But short of a Twin Peaks re-watch leading up to that art show, I don’t think about Lynch as often as I used to in my twenties, when I practically made a pasttime out of, say, popping on a VHS of Blue Velvet and watching it with the lights turned low and not getting a heck of a lot of sleep that night as my brain tried to pick apart what just had rattled it. I used to believe that there were clues to meaning all over his work, and by watching it enough, I’d solve the puzzle. Continue reading →