Stegzy's Music Project

A commentary on Stegzy's album collection

Floating Into the Night – Julee Cruise [#482]

220px-Jc_floatLike a capsule containing music the youth of Twin Peaks might have listened to, Cruise’s Floating Into the Night brings a hauntological sound to the listener’s ears.

I suppose if Twin Peaks wasn’t your thing, you might not appreciate the subtle nuances of Julee Cruise’s first studio release. But as anyone who was alive in the nineties was sucked into the world of David Lynch’s  epic about the murder of a middle class high school prom queen in a peaceful backwater American border town, it’s unlikely you have no conception of the eerie world portrayed in the TV series and its accompanying soundscape.

Cruise’s vocals haunt the listener like the whisper on a breeze through a forest of Douglas Fir pine trees and, nearly twenty seven years later, still send chills, shivers and flashes of terror down the listener’s spine. In my opinion, this is Cruise’s best work. Her follow up album, Voice of Love ,still dipping into the Lynch universe didn’t reach the same levels and the magic fades on subsequent later albums such as Art of Being a Girl .

 

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Album #87 – The Art of Being a Girl – Julee Cruise

Screen Shot 2014-06-23 at 15.20.32 The Art of Being a Girl – Julee Cruise

You’ll probably remember Julee Cruise as the creepy singer from Twin Peaks. The one who sang at the Roadhouse and made an appearance in Fire Walk With Me. Cruise had, until this album, mostly worked with Angelo Badalamenti and David Lynch resulting in spooky haunting tunes with weird overtones. Arguably you could say that Cruise started the whole New Weird America genre or even the etherical genre which will feature heavily in this project.

So it is as no surprise that I have this album. I was transfixed by Cruise during most of the 90’s.  A time of my life where I was willing weirdness to come into my life and make it less mundane. It didn’t. I wasn’t visited by creepy women with logs or giant owls or mothmen. Instead I met aging hippies, hairy goths and floaty vagina women who wove yogurt.

This album comes several years after Cruise’s work with Lynch and Badalamenti and shows that her talents in singing are not lost, however without the creepy Lynch/Badalamenti music, it just doesn’t quite light your rocket. There’s an interesting remix of Falling on this album but it’s not the haunting original. It’s kind of like a cyber reimagining of the song by someone who hasn’t heard the original in its context.

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