Cult Director David Lynch (Blue Velvet, Wild At Heart, ...) continues his adventures in the world of music with a fresh dose of electro-pop by way of Good Day Today.
It was only a matter of time before the brain behind oxygen-sniffing sociopath Frank Booth, painting with ants, and professional furniture crafting made some (more) music. Iconic movie director David Lynch has released a deluxe vinyl edition of both Good Day Today and I Know, new albums which feature both original tracks as well as remixes by Underworld, Sasha, Jon Hopkins and others. And the video is one of the strangest and most haunting you’ll ever see.
Good Day Today
Good Day Today (Underworld Remix)
Straying from his soundtracks, Lynch seems to have taken a cue from longtime accomplice/composer Angelo Badalamenti and actually gone melodic.
“In all my films, I have always been very involved with all that one hears. The creation of this record was a natural extension of my love of sound and music," Lynch explains. "I was just sitting and these notes came and then I went down and started working with Dean [Hurley, engineer] and then these few notes, 'I want to have a good day, today' came and the song was built around that."
I Know
Both Good Day and I Know are surprisingly hip and DJ-friendly – perhaps the only question is will it turn off longtime fans? Still, the video is as trippy as the song – and Lynch fans wouldn’t expect anything less.
Despite its kinda-commercial electronica vibes, this is ambient, haunting stuff, and often as strange as his movies. Some of it is even almost… danceable. It will strike a familiar chord with fans of the remix artists, especially Underworld.
Surprisingly, the official video for Good Day was directed by Arnold de Parscau, the winner of the official video contest. Memories of Lynch’s last lacklustre musical collaboration, Blue Bob, are thankfully long gone.
But it’s safe to say, the surreal world of Lynch mixes well with modern electronica. Good Day Today begins with the crackle of thunder, jarring and electric like his films’ sounds — before it segues into a collage of industrial and ambient sounds, the closest to This Mortal Coil’s Song of the Siren in Lost Highway and the love ballad of Jeffrey and Sandy in Blue Velvet.
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