Julee Cruise
Floating Into the Night
1989, Warner Bros.
February is a miserable month, maybe even the worst month. By this point, I’m not just over winter, but I’m actively offended by it. My Texan body chemistry craves warmth. Any weather that makes me put on gloves and a scarf is an insult and I take it very personally. In February, I blame the cold for all of my problems.
Why is this article late? February, goddammit. It fucks me up. I’d be happy to sleep through it.
Sure, winters here aren’t too bad compared to other places. It’s not unusual to get a week or so of T-shirt weather while northerners are seeing blizzards. However, in February the threat of an Arctic blast always looms. The 65-degree days will become 25-degree days again, often overnight, and I’ll not only be shivering but feel seriously jerked around.
While I’m bitching, the Super Bowl can go to hell and I don’t think that anyone likes Valentine’s Day. Even February’s special traditions suck.
The only nice thing I have to say about February is that Twin Peaks music sounds extra good during this time of year. Perhaps it means something that the series begins in February (see Agent Cooper’s famous “11:30 AM, February 24th” monologue in the pilot).
In even Angelo Badalamenti’s most beautiful pieces of music for David Lynch’s film and television projects–and most of them are stunningly beautiful–there’s a disturbance in between the notes, a demon hiding in the silk. You can’t see her, but she’s there giving an eerie edge to these hushed and pretty pop songs. It’s this tension that makes Floating Into the Night a good fit for the unrest of February.
Continue reading “Things I Will Keep #27: JULEE CRUISE, Floating Into the Night”
Composer Angelo Badalamenti was the Great Missing Man For the first few hours of Twin Peaks season 3.