If in his film and television career about David Lynch held him tightly by one hand Kyle MacLachlanand on the other hand, he did not stop holding it for a moment Angelo Badalamenti.

Yes, the former became a “David Lynch actor,” a man who almost Pavlovian expects anyone who sits down to watch the director’s work, but the latter managed to become much more organic. an integral part of one of the most idiosyncratic visual universes in recent history (cinema, television, call it what you will, because 3 years ago the legendary Cahiers du Cinéma announced the third season of Twin Peaks as the best movie of the year).

The composer, who died of natural causes at the age of 85, was the one who managed to show with impressive accuracy what a nightmare sounds like. when 1986 Leeds asked Badalamendi to write a song for her. Julie Cruz as well as “Blue Velvet” he delivered it “Secrets of Love” a dreamy long ballad, one of those that one would hear over and over again along the way Roadhouse Twin Peaks.

Badalamendi had just “closed the job.” The soundtrack to Blue Velvet, like most of Leeds’ most important works since then, bore his signature (in fact, only on “Inland Empire” the director “went around” musically).

David Lynch World Insiders almost spontaneously I hear the notes of Badalamendi in each of the director’s ghostly and otherworldly images with the most fleeting hair in Hollywood. And yet the composer wrote the most characteristic soundtrack with his signature. not seeing a single frame of what should have been heard -Lindz simply described to him a young lady coming out of the forest, and so the musician wrote almost a whole soundtrack.

We are of course talking about “Twin Peaks” a series that, back in 1990, unconventionally taught what art means on television. A sign that welcomes you to wooded, rural Twin Peaks and a blue corpse of a young woman washed ashore in a plastic bag, a special agent with a weakness for cherry pie, and a lady who won’t let go of a log.

How do you write music for a microcosm that doesn’t matter what it looks like?taken from its creator’s darkest fears, on the other hand, like an ace up its sleeve, it hides details that would conveniently find their place in pure comedy?

listen carefully Twin Peaks Theme: the composition’s bass maneuvers carry a mystery that, as it builds musically, brings the piece to the point of redemption – the culmination of this feeling is “Laura Palmer’s Theme”. It sounds almost reassuring, which sounds like a prelude to the story of a small television society in which everything seems to go to hell.

But there are also moments when the music of the series takes on a jazzy, almost mischievous texture, as in Audrey’s classic for the Lynchian dance. (“Dance of Audrey”), when badalamendi he allows all of Henry Mancini’s dreams to be submerged in psychotropic substances.

Of course, Angelo Badalamenti was not only the composer of Twin Peaks music, but also not only the musician who wrote the Leeds soundtracks. Wrote music for 1992 Olympic Games in Barcelona, collaborated among many others with Marian Faithfull but also their orbital, while others you may have heard him on FM with him Tim Booth in “Dance of the Bad Angels”

However, Angelo Badalamenti, for better or worse, will remain a composer who will be remembered as a man managed to crack the code one of the most personal and special creative worlds of the screen, to internalize it and, finally, to make a significant contribution to it and become a part of it.

He will be the person whose music we listen to every time a riddle question comes to mind. “Who killed Laura Palmer?”.