Twin Peaks: Limited Event Series Soundtrack
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Track listing
Show track credits
- 1 Twin Peaks Theme 5:04
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composer
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composer
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- 2 Muddy Magnolias - American Woman (David Lynch Remix) 4:13
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remixer
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composer
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composer
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composer
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Kallie Northcomposer
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- 3 Laura Palmer's Theme (Love Theme From Twin Peaks) 4:49
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composer
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- 4 Accident / Farewell Theme 3:13
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composer
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- 5 Grady Groove 1:40
- feat. Grady Tate
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composer
- 6 Johnny Jewel - Windswept (Reprise) 3:53
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composer
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composer
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- 7 Dark Mood Woods / The Red Room 5:42
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composer
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- 8 The Chair 4:31
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composer
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- 9 Deer Meadow Shuffle 4:33
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composer
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orchestra
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conductor
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composer
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- 11 David Lynch & Dean Hurley - Slow 30's Room 2:06
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composer
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composer
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- 12 The Fireman 7:13
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composer
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- 13 Chromatics - Saturday (Instrumental) 3:14
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composer
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composer
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composer
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- 14 Thought Gang - Headless Chicken 2:44
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composer
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composer
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- 15 Night 2:44
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composer
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- 16 Heartbreaking 4:10
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composer
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- 17 Audrey's Dance 5:28
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composer
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- 18 Dark Space Low 2:15
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composer
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- Total length: 77:02
Rate/Catalog
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Review
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6 Issues
- Release view [combined information for all issues]
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Twin Peaks: Limited Event Series Soundtrack [p] Gatefold, Paper/Cardboard Sleeve, Television Soundtrack
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Twin Peaks: Limited Event Series Soundtrack Digital file, Streaming
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Twin Peaks: Limited Event Series Soundtrack 140 gram, 33 rpm, Gatefold
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Twin Peaks: Limited Event Series Soundtrack 140 gram, 33 rpm, Colored Vinyl, Exclusive, Gatefold, Limited Edition
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Twin Peaks: Limited Event Series Soundtrack Colored Vinyl
16 Reviews
Not as iconic as the original Twin Peaks soundtrack or even some of the season 2 music, despite the fact there’s some songs from the original soundtracks on here. That doesn’t matter too much though, because most of the new songs are still really good. it’s cool because it feels separate from the original music, while still maintaining that Twin Peaks vibe. It’s its own entity in a similar way to how season 3 in the show is. It’s more directly ambient and less jazz influenced. Consistently darker than the other Twin Peaks soundtracks too. All the Twin Peak soundtracks are worth listening to, Angelo is a brilliant composer whose music is easy to listen to on its own, even without watching the show or movie it’s for.
Published
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Like Twin Peaks: The Return itself, this can often feel like a bunch of disparate elements fighting for space rather than a cohesive whole, or (to put it in terms that are perhaps closer to the show's intent) a bunch of parallel universes operating in tandem. Johnny Jewel and the Chromatics fit as perfectly into the Twin Peaks universe as you'd expect, David Lynch's own contributions hint that he may at least be aware of the existence of vaporwave and The Caretaker (knowingly or not, "Slow 30's Room" feels like it's tracing a direct line from The Caretaker's aesthetic back to the Eraserhead soundtrack), and Threnody to the Victims of Hiroshima sits uneasily in the very middle, the blackened heart of it all. Angelo Badalamenti's score feels more muted and less memorable than usual, right up until Dark Space Low ends the album - and the show - in a strange, entirely new place, suggesting even greater mysteries to come.
Published
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1
Twin Peaks Theme
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3
Laura Palmer's Theme (Love Theme From Twin Peaks)
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4
Accident / Farewell Theme
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5
Grady Groove
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7
Dark Mood Woods / The Red Room
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8
The Chair
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9
Deer Meadow Shuffle
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12
The Fireman
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15
Night
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16
Heartbreaking
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17
Audrey's Dance
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18
Dark Space Low
Published
Baldalamenti is boderline Genius for this
I believe this is probably the best example of perfectly translating the characteristics of a show into a soundtrack. Obviously I know its a soundtrack. However I still do think, this is a borderline masterpiece. Its visceral, surreal, sombre all the matching feelings of David Lynch's masterpiece alikePublished
I'm always skeptical about inclusion of soundtracks here, because I wonder how much the review of the music is skewed by perception of the show or movie the soundtrack goes with. Well, it has been a very long time since I've seen Twin Peaks, and I don't really remember any of this music, so I'll give what I hope are thoughts free of consideration of quality of the show.
Much of the music is exceptionally good. Particularly Laura Palmer's Theme and the most malevolent piece of music ever written, Threnody to the Victims of Hiroshima. This version of that piece is one of the better ones.
But then you have really awful stuff like American Woman. Actually, in that sense it does remind me of one aspect of the show: parts of it were also exceptionally good, and other parts (like the slapstick comedy cop whose name I forget now, and the episode where three of the teenage characters sing a very bad song) were awful.
But those parts are small, and on the whole, this is very good.
Much of the music is exceptionally good. Particularly Laura Palmer's Theme and the most malevolent piece of music ever written, Threnody to the Victims of Hiroshima. This version of that piece is one of the better ones.
But then you have really awful stuff like American Woman. Actually, in that sense it does remind me of one aspect of the show: parts of it were also exceptionally good, and other parts (like the slapstick comedy cop whose name I forget now, and the episode where three of the teenage characters sing a very bad song) were awful.
But those parts are small, and on the whole, this is very good.
Published
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A collection with half a dozen exceptionally high points as in real moments of genius, then you have some great background music and then a couple of just outright weird pieces that are really skippable. Well worth checking out overall.
Published
Having watched, and loved, the original Twin Peaks, I watched one episode of the revamped series and was only mildly disappointed to lose the following episodes due to satellite signal changes. The music, however, is as good as ever, and this album is thoroughly deserving of its high place on this year´s RYM Best Albums list.
Published
Composer Angelo Badalamenti was the Great Missing Man For the first few hours of Twin Peaks season 3. It began almost eerily quiet. There was David Lynch's typically meticulous sound design, executed with much help from Dean Hurley (who has out his own album of his work for the show) and Ron Eng, but there was nothing like the nearly wall-to-wall jazzy snap and shuffle of the old series. Still, it made sense. This was a world slipping back into its skin and feeling its way through the dark. Characters we hadn't seen in twenty-six years were in no rush to open up to us about where they'd been all this time (except for Lucy and Andy). It was mystery on top of mystery on top of mystery, right from the first scene.
What do you do when you're driving and you get lost? You turn your music down until you understand better where you are. Same thing here.
When Badalamenti did show up again, it was in moody, almost funereal, washes of sound. Ascending and descending. Up into Heaven, down into dirt. Up into dreams, down into secrets. The new Twin Peaks used some of its old cast very differently this time (including its own lead actor) and the use of Badalamenti's music, every bit as essential as the on-screen players, similarly changed. It no longer showed up willy-nilly, scoring every twist and turn. No, when you hear a Badalamenti piece in Twin Peaks season 3, it's a heavy moment. Something's about to change. In a series full of questions, Badalamenti's keys and strings often seemed to underscore an answer. It's the sound of a door opening and you never could have predicted what was behind it.
A few others share space with the master, notably Johnny Jewel's torchy trumpet mood piece "Windswept" that emerges as the theme to Agent Cooper's strange return to the conventional world. It sounds like a lonely Saturday night. Everything cool is happening so far away while you're alone picking up the pieces of something, but none of them fit together.
Side 3 of the vinyl deserves special attention. Its three pieces are all from the devastating Episode 8, perhaps the strangest, most brain-flaying hour of scripted television ever produced. I'm still getting over it. Krzysztof Penderecki's nightmarish orchestral piece "Threnody to the Victims of Hiroshima" scores the series' most important revelation, a scene that plays like a great short film all by itself as Lynch's camera jumps directly into the flaming blossom of the world's first atomic bomb explosion at the test site in White Sands, New Mexico. Lynch and Hurley's own "Slow 30s Room" brings the otherworldly chill-out with a flawless imitation of antique swing on a lethargic loop and submerged in 78 rpm-style surface noise. For the climax, Badalementi's seven-minute "The Fireman" arrives on angel's wings to bless ruined Earth, bring peace after chaos and evoke creation after destruction. It's among his finest work.
What do you do when you're driving and you get lost? You turn your music down until you understand better where you are. Same thing here.
When Badalamenti did show up again, it was in moody, almost funereal, washes of sound. Ascending and descending. Up into Heaven, down into dirt. Up into dreams, down into secrets. The new Twin Peaks used some of its old cast very differently this time (including its own lead actor) and the use of Badalamenti's music, every bit as essential as the on-screen players, similarly changed. It no longer showed up willy-nilly, scoring every twist and turn. No, when you hear a Badalamenti piece in Twin Peaks season 3, it's a heavy moment. Something's about to change. In a series full of questions, Badalamenti's keys and strings often seemed to underscore an answer. It's the sound of a door opening and you never could have predicted what was behind it.
A few others share space with the master, notably Johnny Jewel's torchy trumpet mood piece "Windswept" that emerges as the theme to Agent Cooper's strange return to the conventional world. It sounds like a lonely Saturday night. Everything cool is happening so far away while you're alone picking up the pieces of something, but none of them fit together.
Side 3 of the vinyl deserves special attention. Its three pieces are all from the devastating Episode 8, perhaps the strangest, most brain-flaying hour of scripted television ever produced. I'm still getting over it. Krzysztof Penderecki's nightmarish orchestral piece "Threnody to the Victims of Hiroshima" scores the series' most important revelation, a scene that plays like a great short film all by itself as Lynch's camera jumps directly into the flaming blossom of the world's first atomic bomb explosion at the test site in White Sands, New Mexico. Lynch and Hurley's own "Slow 30s Room" brings the otherworldly chill-out with a flawless imitation of antique swing on a lethargic loop and submerged in 78 rpm-style surface noise. For the climax, Badalementi's seven-minute "The Fireman" arrives on angel's wings to bless ruined Earth, bring peace after chaos and evoke creation after destruction. It's among his finest work.
Published
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Catalog
18 May 2024
15 May 2024
14 May 2024
10 May 2024
7 May 2024
3 May 2024
1 May 2024
29 Apr 2024
-
1
Twin Peaks Theme
-
3
Laura Palmer's Theme (Love Theme From Twin Peaks)
-
4
Accident / Farewell Theme
-
5
Grady Groove
-
7
Dark Mood Woods / The Red Room
-
8
The Chair
-
9
Deer Meadow Shuffle
-
12
The Fireman
-
15
Night
-
16
Heartbreaking
-
17
Audrey's Dance
-
18
Dark Space Low
28 Apr 2024
27 Apr 2024
25 Apr 2024
22 Apr 2024
18 Apr 2024
17 Apr 2024
17 Apr 2024
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