DAVID LYNCH'S
"Twin Peaks: Fire Walk With Me" Music From The Motion Picture Soundtrack - (1992)

Composer Angelo Badalamenti, who wrote the music for the television series for which this movie served as a "prequel," presents another low-key score mixing after-midnight jazz with ambient sounds, never taken at more than a medium tempo. The mood is dark and languid, appropriate to the unusual tone of the TV show and movie. Jimmy Scott and Julee Cruise contribute eerie vocals to songs with lyrics by director David Lynch.

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DAVID LYNCH
Good Day Today - (2010)

Lynch’s creative output has long been an inspiration for countless electronic music producers. Now he draws on his seemingly endless creative reserves as he succinctly sums up years of musical experimentation into his first ever solo electronic production. With a stamp that is undoubtedly Lynch, “Good Day Today” features the legend himself on vocals and on production duties. There can be no higher accolade for the electronic genre that Lynch has chosen to launch a solo project in part inspired by electronic music. “Good Day Today” was mistakenly credited to Underworld by Jason Bentley due to its warm synth sounds when it first aired on his hugely influential Los Angeles-based KCRW radio show “Morning Becomes Eclectic.” The debate about who created this track is still raging via the Underworld website and message boards—some testament to Lynch’s first electronic outing. Bentley put the record into the hands of Sunday Best Recordings director Ben Turner at the International Music Summit in Ibiza. Turner played the record to label head Rob da Bank and the pair snapped up the release soon after, signing the track for the world.

http://www.mediafire.com/?hkn8s7s1n4h94cn

DANGER MOUSE & SPARKLEHORSE
Dark Night Of The Soul - (2009)

Musical visionary Danger Mouse, iconoclastic filmmaker David Lynch, and celebrated rock recluse Sparklehorse have converged to create Dark Night of the Soul, a project encompassing a new full-length album and limited edition book. As half of the acclaimed duo Gnarls Barkley, Danger Mouse is no stranger to high-stakes collaborations. With the help of Sparklehorse, he has recruited a remarkable cast of contemporary artists to lend their vocals, including the Flaming Lips, Black Francis of the Pixies, Julian Casablancas of the Strokes, James Mercer of the Shins, Jason Lytle of Grandaddy, Gruff Rhys of Super Furry Animals, Nina Persson of the Cardigans, cryptic Southern songwriter Vic Chesnutt, avant-folk icon Suzanne Vega, punk titan Iggy Pop, and even Lynch himself. To create the images that accompany the music, Danger Mouse chose David Lynch. Known for revealing the gripping horror beneath suburban banality, Lynch crafts eerie beauty from the most irregular of elements. For Dark Night of the Soul, the creator of Twin Peaks, Inland Empire, Blue Velvet, and Eraserhead, delivers a gorgeous, hypnotic series of photographs. This captivating project explores and escapes the reality of the world. The book package includes the full sequence of Lynch's images, a foreword by Danger Mouse, selected lyrics, and an art-printed CD-R, in a run of only 5000 copies, each individually numbered. For Legal Reasons, enclosed CD-R contains no music. You can get that music here and burn it to any kind of CD-R you like.

http://www.mediafire.com/?qvagmqddi41

DAVID LYNCH'S
"Blue Velvet" Original Motion Picture Soundtrack - (1986)

Beautiful and strange, the score to David Lynch's Blue Velvet is a staggering surrealist's nightmare told with the heart of a saint. Dense orchestrations float along whispers of dark, unnerving melodies; an astounding sense of menace coils inside even the most reassuring of moments. This marked the first collaboration between Lynch and Angelo Badalamenti, and its fusion of the sublime and the dangerous is breathtaking. There are Bernard Herrmann violin slashes, revisited classics (Roy Orbison's "In Dreams," Bobby Vinton's title track), and the peak of the whole experience, "Mysteries of Love." This Mortal Coil turned down requests to use their beloved version of "Song to the Siren," but Badalamenti manages to construct a piece of such simplicity, of such beauty, that you wonder why a composer didn't create it before in the first place. Brutally compelling, like one of Jeffrey Beaumont's own mysteries, this is an extraordinary experience filled with both fear and love.

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DAVID LYNCH'S
"The Elephant Man"
Original Soundtrack - (1980)


Infinitely more conventional than David Lynch's Eraserhead effort, The Elephant Man follow-up focuses on John Morris' impressive yet all too safe compositions with a minimal amount of authority. There is much Danny Elfman-like carny-jingling travelling along the industrialized byways of 19th century London, a few rumblings of looming despondency, and not nearly enough creative invention. Surely, mixing one of Mel Brooks' favorite composers with the unparalleled world of Lynch would never have amounted to much, but it's even more telling that the soundtrack's peak is actually Samuel Barber's "Adagio for Strings." Without a doubt, the moment is fully realized, capturing the film's extraordinary climax with new depth. In the larger story, though, along with Dune, The Elephant Man represents an in-between stage for Lynch's personal work trying to find the right composer. Morris does his best trying to understand the unique complexities of Lynch's mind. It's just that much like the film itself, it is a restrained Lynch experience. Which is rarely — if ever — a good thing. (allmusic.com)

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DAVID LYNCH'S
"Eraserhead" Original
Soundtrack Plus - (2003)

An astonishing, peerless masterpiece, the soundtrack to David Lynch's debut labor of love creates a world of haunting mechanics and sexual distress in such a bizarre layer of sonic fog that any record collection is simply poorer without it. The enormity of the aural experimentation is extraordinary. With renowned sound designer Alan Splet, Lynch developed any technique he could conjure up — from recording with pieces of glass tubing, pneumatic engines, or water-based pieces of machinery — to produce sounds never heard before (or since) in any medium. Pieces of Fats Waller filter in through the unsettling haze. The sounds of the unimaginably horrific baby are nothing less than ghastly. Few directors could have realized such a potent vision only a first time out. Disturbing, haunting, and — decades later — still one of the most compelling sonic creations in the history of film. (allmusic.com)

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