Cellophane Memories
Chrystabell & David Lynch
Cellophane Memories
Boomkat Product Review:
Longtime Lynch collaborator Chrystabell reconvenes with the director for a hypnagogic voyage into sensual surrealism, and it's as close as Lynch has come to his work with the late Julee Cruise in decades, with Chrysta's ethereal vocals contorted and reverberated around starlit synths and spine-tingling muted orchestrals - some of which were composed by Angelo Badalamenti, no less. So good.
Unsurprisingly, there's a an enigmatic story behind this one. Lynch was on a nighttime walk through a forest when he noticed a bright light - the light became Chystabell's voice, and disclosed a secret to him. It's hard not to think of Twin Peaks here - even the title seems to reference Laura Palmer's ugly demise - and with contributions from the late Badalamenti, the mood is eerily familiar, to say the least. Chrystabell's been working with Lynch since 2007, when he used some of her music in 'Inland Empire'; he wrote and produced her debut solo album 'The Train' just a few years later, and she also took a central role in 'Twin Peaks: The Return', playing Special Agent Tammy Preston. So who better to bottle the essence of Lynch's caliginous American dreamscape?
But 'Cellophane Memories' is far more than an attempt to recapture the dark cabaret oddness of Julee Cruise's 'Floating into the Night'. The vapors still hang around the album, formed around plasticky synth strings, but Chrystabell's voice is unique, sweeping around the album as if it's hovering between this world and the next. She's a confident performer, letting her words drift through clouds of reverb whie Lynch replies with bold, illusory arrangements, backmasking her phrases and stacking melodies like esoteric clues. His echo-ed out, Loren Connors-like riffs are particularly gripping, bedding Chrystabell's folk-y recitations on the elegiac 'You Know the Rest' and turning 'Two Lovers Kiss' into a haunted lullaby.
On 'The Answers to the Questions', Lynch harnesses the tremolo-heavy jangle of Americana, fading his plucks into hums over a beat that's so powdery it's practically just a gravelly shuffle. Chrystabell's ability to work with this kind of mottled canvas is why the album exceeds expectations; her fragmentary songs embed themselves in Lynch's well-worn imagery without losing their distinctive tone. At times, she sounds almost like Beth Gibbons, hauling a hazy past into a terrifying present, and at others more like Liz Harris, turning her homespun digressions into uncompromising empyrean ambience. Just check the feathery 'With Small Animals', where she curls her voice into vague chorals, accompanied by subtle shortwave-garbled drones from Lynch, or the forbidding 'Reflections in a Blade', a diaphanous modern giallo theme we never knew we needed.
'Cellophane Memories' is Lynch's most crucial musical diversion in years, not a re-imagining of the Julee Cruise era but a vital remodeling of the formula. There are plenty of imitations, this one's the real deal.
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Boomkat Product Review:
Longtime Lynch collaborator Chrystabell reconvenes with the director for a hypnagogic voyage into sensual surrealism, and it's as close as Lynch has come to his work with the late Julee Cruise in decades, with Chrysta's ethereal vocals contorted and reverberated around starlit synths and spine-tingling muted orchestrals - some of which were composed by Angelo Badalamenti, no less. So good.
Unsurprisingly, there's a an enigmatic story behind this one. Lynch was on a nighttime walk through a forest when he noticed a bright light - the light became Chystabell's voice, and disclosed a secret to him. It's hard not to think of Twin Peaks here - even the title seems to reference Laura Palmer's ugly demise - and with contributions from the late Badalamenti, the mood is eerily familiar, to say the least. Chrystabell's been working with Lynch since 2007, when he used some of her music in 'Inland Empire'; he wrote and produced her debut solo album 'The Train' just a few years later, and she also took a central role in 'Twin Peaks: The Return', playing Special Agent Tammy Preston. So who better to bottle the essence of Lynch's caliginous American dreamscape?
But 'Cellophane Memories' is far more than an attempt to recapture the dark cabaret oddness of Julee Cruise's 'Floating into the Night'. The vapors still hang around the album, formed around plasticky synth strings, but Chrystabell's voice is unique, sweeping around the album as if it's hovering between this world and the next. She's a confident performer, letting her words drift through clouds of reverb whie Lynch replies with bold, illusory arrangements, backmasking her phrases and stacking melodies like esoteric clues. His echo-ed out, Loren Connors-like riffs are particularly gripping, bedding Chrystabell's folk-y recitations on the elegiac 'You Know the Rest' and turning 'Two Lovers Kiss' into a haunted lullaby.
On 'The Answers to the Questions', Lynch harnesses the tremolo-heavy jangle of Americana, fading his plucks into hums over a beat that's so powdery it's practically just a gravelly shuffle. Chrystabell's ability to work with this kind of mottled canvas is why the album exceeds expectations; her fragmentary songs embed themselves in Lynch's well-worn imagery without losing their distinctive tone. At times, she sounds almost like Beth Gibbons, hauling a hazy past into a terrifying present, and at others more like Liz Harris, turning her homespun digressions into uncompromising empyrean ambience. Just check the feathery 'With Small Animals', where she curls her voice into vague chorals, accompanied by subtle shortwave-garbled drones from Lynch, or the forbidding 'Reflections in a Blade', a diaphanous modern giallo theme we never knew we needed.
'Cellophane Memories' is Lynch's most crucial musical diversion in years, not a re-imagining of the Julee Cruise era but a vital remodeling of the formula. There are plenty of imitations, this one's the real deal.
Boomkat Product Review:
Longtime Lynch collaborator Chrystabell reconvenes with the director for a hypnagogic voyage into sensual surrealism, and it's as close as Lynch has come to his work with the late Julee Cruise in decades, with Chrysta's ethereal vocals contorted and reverberated around starlit synths and spine-tingling muted orchestrals - some of which were composed by Angelo Badalamenti, no less. So good.
Unsurprisingly, there's a an enigmatic story behind this one. Lynch was on a nighttime walk through a forest when he noticed a bright light - the light became Chystabell's voice, and disclosed a secret to him. It's hard not to think of Twin Peaks here - even the title seems to reference Laura Palmer's ugly demise - and with contributions from the late Badalamenti, the mood is eerily familiar, to say the least. Chrystabell's been working with Lynch since 2007, when he used some of her music in 'Inland Empire'; he wrote and produced her debut solo album 'The Train' just a few years later, and she also took a central role in 'Twin Peaks: The Return', playing Special Agent Tammy Preston. So who better to bottle the essence of Lynch's caliginous American dreamscape?
But 'Cellophane Memories' is far more than an attempt to recapture the dark cabaret oddness of Julee Cruise's 'Floating into the Night'. The vapors still hang around the album, formed around plasticky synth strings, but Chrystabell's voice is unique, sweeping around the album as if it's hovering between this world and the next. She's a confident performer, letting her words drift through clouds of reverb whie Lynch replies with bold, illusory arrangements, backmasking her phrases and stacking melodies like esoteric clues. His echo-ed out, Loren Connors-like riffs are particularly gripping, bedding Chrystabell's folk-y recitations on the elegiac 'You Know the Rest' and turning 'Two Lovers Kiss' into a haunted lullaby.
On 'The Answers to the Questions', Lynch harnesses the tremolo-heavy jangle of Americana, fading his plucks into hums over a beat that's so powdery it's practically just a gravelly shuffle. Chrystabell's ability to work with this kind of mottled canvas is why the album exceeds expectations; her fragmentary songs embed themselves in Lynch's well-worn imagery without losing their distinctive tone. At times, she sounds almost like Beth Gibbons, hauling a hazy past into a terrifying present, and at others more like Liz Harris, turning her homespun digressions into uncompromising empyrean ambience. Just check the feathery 'With Small Animals', where she curls her voice into vague chorals, accompanied by subtle shortwave-garbled drones from Lynch, or the forbidding 'Reflections in a Blade', a diaphanous modern giallo theme we never knew we needed.
'Cellophane Memories' is Lynch's most crucial musical diversion in years, not a re-imagining of the Julee Cruise era but a vital remodeling of the formula. There are plenty of imitations, this one's the real deal.
Boomkat Product Review:
Longtime Lynch collaborator Chrystabell reconvenes with the director for a hypnagogic voyage into sensual surrealism, and it's as close as Lynch has come to his work with the late Julee Cruise in decades, with Chrysta's ethereal vocals contorted and reverberated around starlit synths and spine-tingling muted orchestrals - some of which were composed by Angelo Badalamenti, no less. So good.
Unsurprisingly, there's a an enigmatic story behind this one. Lynch was on a nighttime walk through a forest when he noticed a bright light - the light became Chystabell's voice, and disclosed a secret to him. It's hard not to think of Twin Peaks here - even the title seems to reference Laura Palmer's ugly demise - and with contributions from the late Badalamenti, the mood is eerily familiar, to say the least. Chrystabell's been working with Lynch since 2007, when he used some of her music in 'Inland Empire'; he wrote and produced her debut solo album 'The Train' just a few years later, and she also took a central role in 'Twin Peaks: The Return', playing Special Agent Tammy Preston. So who better to bottle the essence of Lynch's caliginous American dreamscape?
But 'Cellophane Memories' is far more than an attempt to recapture the dark cabaret oddness of Julee Cruise's 'Floating into the Night'. The vapors still hang around the album, formed around plasticky synth strings, but Chrystabell's voice is unique, sweeping around the album as if it's hovering between this world and the next. She's a confident performer, letting her words drift through clouds of reverb whie Lynch replies with bold, illusory arrangements, backmasking her phrases and stacking melodies like esoteric clues. His echo-ed out, Loren Connors-like riffs are particularly gripping, bedding Chrystabell's folk-y recitations on the elegiac 'You Know the Rest' and turning 'Two Lovers Kiss' into a haunted lullaby.
On 'The Answers to the Questions', Lynch harnesses the tremolo-heavy jangle of Americana, fading his plucks into hums over a beat that's so powdery it's practically just a gravelly shuffle. Chrystabell's ability to work with this kind of mottled canvas is why the album exceeds expectations; her fragmentary songs embed themselves in Lynch's well-worn imagery without losing their distinctive tone. At times, she sounds almost like Beth Gibbons, hauling a hazy past into a terrifying present, and at others more like Liz Harris, turning her homespun digressions into uncompromising empyrean ambience. Just check the feathery 'With Small Animals', where she curls her voice into vague chorals, accompanied by subtle shortwave-garbled drones from Lynch, or the forbidding 'Reflections in a Blade', a diaphanous modern giallo theme we never knew we needed.
'Cellophane Memories' is Lynch's most crucial musical diversion in years, not a re-imagining of the Julee Cruise era but a vital remodeling of the formula. There are plenty of imitations, this one's the real deal.
Out of Stock
Boomkat Product Review:
Longtime Lynch collaborator Chrystabell reconvenes with the director for a hypnagogic voyage into sensual surrealism, and it's as close as Lynch has come to his work with the late Julee Cruise in decades, with Chrysta's ethereal vocals contorted and reverberated around starlit synths and spine-tingling muted orchestrals - some of which were composed by Angelo Badalamenti, no less. So good.
Unsurprisingly, there's a an enigmatic story behind this one. Lynch was on a nighttime walk through a forest when he noticed a bright light - the light became Chystabell's voice, and disclosed a secret to him. It's hard not to think of Twin Peaks here - even the title seems to reference Laura Palmer's ugly demise - and with contributions from the late Badalamenti, the mood is eerily familiar, to say the least. Chrystabell's been working with Lynch since 2007, when he used some of her music in 'Inland Empire'; he wrote and produced her debut solo album 'The Train' just a few years later, and she also took a central role in 'Twin Peaks: The Return', playing Special Agent Tammy Preston. So who better to bottle the essence of Lynch's caliginous American dreamscape?
But 'Cellophane Memories' is far more than an attempt to recapture the dark cabaret oddness of Julee Cruise's 'Floating into the Night'. The vapors still hang around the album, formed around plasticky synth strings, but Chrystabell's voice is unique, sweeping around the album as if it's hovering between this world and the next. She's a confident performer, letting her words drift through clouds of reverb whie Lynch replies with bold, illusory arrangements, backmasking her phrases and stacking melodies like esoteric clues. His echo-ed out, Loren Connors-like riffs are particularly gripping, bedding Chrystabell's folk-y recitations on the elegiac 'You Know the Rest' and turning 'Two Lovers Kiss' into a haunted lullaby.
On 'The Answers to the Questions', Lynch harnesses the tremolo-heavy jangle of Americana, fading his plucks into hums over a beat that's so powdery it's practically just a gravelly shuffle. Chrystabell's ability to work with this kind of mottled canvas is why the album exceeds expectations; her fragmentary songs embed themselves in Lynch's well-worn imagery without losing their distinctive tone. At times, she sounds almost like Beth Gibbons, hauling a hazy past into a terrifying present, and at others more like Liz Harris, turning her homespun digressions into uncompromising empyrean ambience. Just check the feathery 'With Small Animals', where she curls her voice into vague chorals, accompanied by subtle shortwave-garbled drones from Lynch, or the forbidding 'Reflections in a Blade', a diaphanous modern giallo theme we never knew we needed.
'Cellophane Memories' is Lynch's most crucial musical diversion in years, not a re-imagining of the Julee Cruise era but a vital remodeling of the formula. There are plenty of imitations, this one's the real deal.
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Limited edition clear vinyl
Boomkat Product Review:
Longtime Lynch collaborator Chrystabell reconvenes with the director for a hypnagogic voyage into sensual surrealism, and it's as close as Lynch has come to his work with the late Julee Cruise in decades, with Chrysta's ethereal vocals contorted and reverberated around starlit synths and spine-tingling muted orchestrals - some of which were composed by Angelo Badalamenti, no less. So good.
Unsurprisingly, there's a an enigmatic story behind this one. Lynch was on a nighttime walk through a forest when he noticed a bright light - the light became Chystabell's voice, and disclosed a secret to him. It's hard not to think of Twin Peaks here - even the title seems to reference Laura Palmer's ugly demise - and with contributions from the late Badalamenti, the mood is eerily familiar, to say the least. Chrystabell's been working with Lynch since 2007, when he used some of her music in 'Inland Empire'; he wrote and produced her debut solo album 'The Train' just a few years later, and she also took a central role in 'Twin Peaks: The Return', playing Special Agent Tammy Preston. So who better to bottle the essence of Lynch's caliginous American dreamscape?
But 'Cellophane Memories' is far more than an attempt to recapture the dark cabaret oddness of Julee Cruise's 'Floating into the Night'. The vapors still hang around the album, formed around plasticky synth strings, but Chrystabell's voice is unique, sweeping around the album as if it's hovering between this world and the next. She's a confident performer, letting her words drift through clouds of reverb whie Lynch replies with bold, illusory arrangements, backmasking her phrases and stacking melodies like esoteric clues. His echo-ed out, Loren Connors-like riffs are particularly gripping, bedding Chrystabell's folk-y recitations on the elegiac 'You Know the Rest' and turning 'Two Lovers Kiss' into a haunted lullaby.
On 'The Answers to the Questions', Lynch harnesses the tremolo-heavy jangle of Americana, fading his plucks into hums over a beat that's so powdery it's practically just a gravelly shuffle. Chrystabell's ability to work with this kind of mottled canvas is why the album exceeds expectations; her fragmentary songs embed themselves in Lynch's well-worn imagery without losing their distinctive tone. At times, she sounds almost like Beth Gibbons, hauling a hazy past into a terrifying present, and at others more like Liz Harris, turning her homespun digressions into uncompromising empyrean ambience. Just check the feathery 'With Small Animals', where she curls her voice into vague chorals, accompanied by subtle shortwave-garbled drones from Lynch, or the forbidding 'Reflections in a Blade', a diaphanous modern giallo theme we never knew we needed.
'Cellophane Memories' is Lynch's most crucial musical diversion in years, not a re-imagining of the Julee Cruise era but a vital remodeling of the formula. There are plenty of imitations, this one's the real deal.
Out of Stock
Boomkat Product Review:
Longtime Lynch collaborator Chrystabell reconvenes with the director for a hypnagogic voyage into sensual surrealism, and it's as close as Lynch has come to his work with the late Julee Cruise in decades, with Chrysta's ethereal vocals contorted and reverberated around starlit synths and spine-tingling muted orchestrals - some of which were composed by Angelo Badalamenti, no less. So good.
Unsurprisingly, there's a an enigmatic story behind this one. Lynch was on a nighttime walk through a forest when he noticed a bright light - the light became Chystabell's voice, and disclosed a secret to him. It's hard not to think of Twin Peaks here - even the title seems to reference Laura Palmer's ugly demise - and with contributions from the late Badalamenti, the mood is eerily familiar, to say the least. Chrystabell's been working with Lynch since 2007, when he used some of her music in 'Inland Empire'; he wrote and produced her debut solo album 'The Train' just a few years later, and she also took a central role in 'Twin Peaks: The Return', playing Special Agent Tammy Preston. So who better to bottle the essence of Lynch's caliginous American dreamscape?
But 'Cellophane Memories' is far more than an attempt to recapture the dark cabaret oddness of Julee Cruise's 'Floating into the Night'. The vapors still hang around the album, formed around plasticky synth strings, but Chrystabell's voice is unique, sweeping around the album as if it's hovering between this world and the next. She's a confident performer, letting her words drift through clouds of reverb whie Lynch replies with bold, illusory arrangements, backmasking her phrases and stacking melodies like esoteric clues. His echo-ed out, Loren Connors-like riffs are particularly gripping, bedding Chrystabell's folk-y recitations on the elegiac 'You Know the Rest' and turning 'Two Lovers Kiss' into a haunted lullaby.
On 'The Answers to the Questions', Lynch harnesses the tremolo-heavy jangle of Americana, fading his plucks into hums over a beat that's so powdery it's practically just a gravelly shuffle. Chrystabell's ability to work with this kind of mottled canvas is why the album exceeds expectations; her fragmentary songs embed themselves in Lynch's well-worn imagery without losing their distinctive tone. At times, she sounds almost like Beth Gibbons, hauling a hazy past into a terrifying present, and at others more like Liz Harris, turning her homespun digressions into uncompromising empyrean ambience. Just check the feathery 'With Small Animals', where she curls her voice into vague chorals, accompanied by subtle shortwave-garbled drones from Lynch, or the forbidding 'Reflections in a Blade', a diaphanous modern giallo theme we never knew we needed.
'Cellophane Memories' is Lynch's most crucial musical diversion in years, not a re-imagining of the Julee Cruise era but a vital remodeling of the formula. There are plenty of imitations, this one's the real deal.
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