Fulton St. from South St.

You almost never from a Lynch movie get the sense that the point is to “entertain” you, and never that the point is to get you to fork over money to see it. This is one of the unsettling things about a Lynch movie: You don’t feel like you’re entering into any of the standard unspoken and/or unconscious contracts you normally enter into with other kinds of movies. This is unsettling because in the absence of such an unconscious contract we lose some of the psychic protections we normally (and necessarily) bring to bear on a medium as powerful as film. That is, if we know on some level what a movie wants from us, we can erect certain internal defenses that let us choose how much of ourselves we give away to it. The absence of point or recognizable agenda in Lynch’s films, though, strips these subliminal defenses and lets Lynch get inside your head in a way movies normally don’t. This is why his best films’ effects are often so emotional and nightmarish

- David Foster Wallace, A Supposedly Fun Thing I’ll Never Do Again.

1. Marsmobil – Astralbody
   Minx  (Compost, 2006)
2. Nino Rota – O’ Venezia Venaga Venusia
   Il Casanova (CAM, 1976)
3. Bohren & Der Club of Gore – Destroying angels
   Black Earth (Wonder, 2002)
4. Manfred Hübler & Siegfried Schwab – Necronomania
   Vampyros Lesbos (Crippled Dick Hot Wax, 1995)
5. Susanna & the magical orchestra – Sweet devil
   List of Lights and Buoys (Rune Grammofon, 2004)
6. Oleg Kostrow – Elysee theme
   Imago OST (2002)
7. Peter Thomas Sound Orchester – Lancet bossa nova
   Raumpatrouille (1966)
8. Colleen - I’ll read you a story
   The Golden Morning Breaks (Leaf, 2005)

This playlist has been on the motel’s vault for ages. Recently a reader requested a spy-themed playlist and I think this one just might fit the bill, so I’ve decided to rescue it and give it another shot before it gets completely lost into oblivion.
It’s just a humble tribute to David Lynch’s work,  a playlist which could match the aesthetic of most of his films: eerie atmospheres, discreet violence and smokey, erotic overtones. In keeping with the personality of Lynch’s film the songs move in between noir sensibility, delicate siren calls and a little hint of kitsch. I hope you enjoy.

Also see:

- David Foster Wallace on Lost Highway.
- The 10 Best David Lynch Moments.