1990: Julee Cruise - Falling

Even folks who know nothing of Special Agent Dale Cooper can usually identify Julee Cruise’s “Falling” as “that Twin Peaks song” after just a few bars. Paired with a montage of an idealized Northwestern Americana and a gaudy green font, the song makes up one of the most iconic sequences in David Lynch’s overture — an especially impressive feat, considering the rest of that overture includes characters like Frank Booth and screaming dinosaur babies. A lot of the opening’s appeal comes from its complete avoidance of typical credit sequence trope; there’s no upbeat jingle, no characters mugging at the camera, no bottle recap of the story. Instead we get shots of rivers and sawmills set to the airy vocals of Cruise.

Even in the early 90s alternative scene, Julee Cruise never became wildly popular outside the show. Which is weird, given that her work with Angelo Badalamenti for the Twin Peaks soundtrack stands up just as well when cut away from the cinematography and plot. And it’s not like there wasn’t an audience for retro sounds and airy female vocals — around the same time Sinéad O’Connor was topping the charts with her wispy anthems and Chris Isaak was melting hearts with “Wicked Game” and a slick pompadour. So why a song as effective as “Nightingale” didn’t end up on a thousand mixtapes in 1990 is really beyond me.

Two decades on, it appears like Badalamenti and Cruise may have finally had an impact. From Windy & Carl to Beach House to Grouper, touches of the duo’s atmospheric production and mournful vocal delivery can be heard throughout the late resurgence of dream pop. The lethargic guitar reverb and slow melody on “Nightingale” even anticipates the work of Real Estate, Ducktails, and Lower Dens if you’re listening for it. With its slow-and low-bass and longing vocals, “Candy Girl” by the London-based Trailer Trash Tracys may as well be an homage to the the pair’s work. Of course, you can’t call Cruise the patient-zero for the proliferation of this genre — the Cocteau Twins did exist, after all — but the Cruise-Badalamenti collaboration should really be more than an odd footnote in network TV history.


There’s a lot of good music out there, and it’s not all being released this year. With DeLorean, we aim to rediscover overlooked artists and genres, to listen to music historically and contextually, to underscore the fluidity of music. While we will cover reissues here, our focus will be on music that’s not being pushed by a PR firm.

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