David Lynch
The Big Dream

Desire to shout to the world (and especially to Lynch) "David, please come back to making movies!!!"

"The Big Dream," the second album by the great director who apparently has stopped making films, unfortunately. Yes, because Lynch is definitely among my three all-time favorite directors. Even though I never fully understand him (and I think very few people have really managed to fully understand his work), there's something that makes me love his cinema, his characters, his style. "Getting lost is wonderful" is the title of one of the many books dedicated to him; indeed, with Lynch, you get lost, and it's precisely when you realize you've gotten lost that you understand how magnificent "getting lost" is. I found a phrase by "Cinemaniac" Gianni Canova wonderful... "when you watch Lynch, you need to know one thing...you're not watching the film, but it's the film that watches you." Marvelous! From "Eraserhead" to "Inland Empire," I have always declared my love for Lynch's cinema!

Now, Lynch the musician! Can I be in love with Lynch the musician? I can appreciate him, perhaps... but I certainly don't appreciate him as much as I can appreciate his films! His first album "Crazy Clown Time" left me puzzled; I tried to listen to it many times, it didn't "grab" me, it didn't "enthuse" me... and even today it doesn't enthuse me. This second album is, in my opinion, better than the first. The tracks are perhaps more "accessible," and I personally had them lingering in my mind for quite a while. He still manages to create a dreamlike scenario, a musical distortion that automatically becomes a temporary reality distortion. 12 tracks, including a Lynchian version of "Ballad Of Hollis Brown," a song by the great Bob Dylan.

Lynch's voice is undoubtedly peculiar, and personally, I don't like how he sings, although I must say that with that music, it doesn’t sound bad. It's also challenging to fit this album into a specific musical genre; can we talk about experimentation? Perhaps. Can we talk about rock? No, I don't think so. I define it only as a Lynch record, just like his films, impossible to label as something, too strange, too absurd, too "beyond!"

But the sorest point of the entire album, in my opinion, is not even in the music, but do you know where? In the cover! Look at the cover of this album and tell me the first thing that comes to mind. I can't say that name because I've learned that if I do, Lucifer will possess your souls, and you'll start cursing me! So I'll let you speak... look carefully at the cover and tell me what it reminds you of. I'm sure you'll "get there" in a microsecond. This, in any case, certainly doesn’t make me think of anything original, and honestly, I did not expect such a thing from Lynch... or perhaps since Lynch (as we all know) is unpredictability incarnate... maybe it’s a provocation? Who knows...

An album that drags you into nocturnal, cold, oneiric environments. Come to think of it, it might result in its entirety as a sort of "Portishead-style trip-hop" with some ventures into blues, which Lynch has never hated, indeed. In short, like all of Lynch's works, whether it be cinema, music, painting, eating a cherry pie, or the Garmonbozia (if you don't know Lynch, you can't know what the Garmonbozia is), we are always faced with something extremely complicated... to watch, to hear, and to perceive. I don't think I'll ever do a review of a Lynch film; I'm not capable, too complicated for me. I just hope for one thing... that one day he'll come back to make at least one more film, just one is enough for me. I also understand that after "Inland Empire" going beyond is a little impossible... but it's a little impossible for us humans... perhaps not for Lynch!

Unleash the mightiest and unspeakable insults, companions! Lynch and I wish you good fun.

VinnySparrow