A lot of people think they know what to expect when a band covers a soundtrack. Usually, it's a polite "thank you" to the original. A little more bass here, a faster tempo there. But when the news hit back in 2015 that an avant-garde noise-pop outfit was going to tackle the most iconic television score in history, the reaction was… well, it was mixed.
Some purists hated it. Others felt it was inevitable.
Xiu Xiu plays Twin Peaks isn't just a cover album. Honestly, it’s more like a psychological autopsy of David Lynch’s world. It’s loud. It’s quiet. It’s incredibly uncomfortable. And yet, over a decade since it was first commissioned, it remains the only tribute that actually understands the "darkness within the light" that Angelo Badalamenti and David Lynch were actually aiming for.
The Brisbane Origin Story
This whole thing started because of an art gallery.
In 2015, the Queensland Gallery of Modern Art (GOMA) in Brisbane, Australia, was putting together an massive exhibition called David Lynch: Between Two Worlds. They didn't want a standard tribute band. They wanted something that felt like the Black Lodge sounds—something that could bridge the gap between high art and the visceral, sweaty reality of post-punk.
They called Jamie Stewart.
Jamie Stewart is the driving force behind Xiu Xiu. If you've never heard them, they’re basically the sound of a panic attack recorded on vintage synthesizers and broken percussion. Stewart, along with Angela Seo and Shayna Dunkelman, took the commission and didn't just play the notes. They lived in them.
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The live performances in Australia were so intense—featuring a stage draped in red velvet and a band that refused to look at the audience—that everyone involved realized this couldn't just stay in Brisbane. It had to be a record.
Reinterpreting the Un-interpretable
How do you cover "Falling"?
The original theme by Badalamenti is a masterpiece of restraint. It's a warm, slow-motion hug from a ghost. When Xiu Xiu plays Twin Peaks, they don't try to out-pretty the original. They can't. Instead, they lean into the vulnerability.
Jamie Stewart’s voice is an acquired taste for some, sure. It’s a wavering, desperate baritone that sounds like it’s about to shatter. But listen to their version of "Falling" or "Sycamore Tree." There’s a raw, jagged edge that makes the lyrics—often whispered or shouted—feel far more dangerous than the 1990 originals ever did.
The tracklist for the 2016 studio release (which dropped as a Record Store Day exclusive) reads like a "best of" for the obsessed:
- Laura Palmer’s Theme: Transformed from a melancholic piano piece into a thudding, industrial nightmare.
- Audrey’s Dance: It keeps the finger snaps but adds a layer of grime that makes the "dance" feel much more like a ritual.
- Blue Frank / Pink Room: This is where the band lets the noise truly take over. It’s abrasive. It’s loud. It’s the sound of the Roadhouse at 3:00 AM after everyone has had too much to drink and a fight is about to break out.
The production on the album was handled by former member Jherek Bischoff and mixed by Greg Saunier of Deerhoof. This is important. These aren't just "noise" guys; they’re composers who understand how to build a wall of sound that doesn't just collapse into a mess.
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The Thumbs Up from the Maestro
There is one specific detail that every fan should know.
In 2016, Xiu Xiu played David Lynch’s Festival of Disruption in Los Angeles. This was the big one. The ultimate test.
Standing in the wings, watching the entire set, was Angelo Badalamenti himself.
Imagine being Jamie Stewart. You are reinterpreting the life’s work of one of your absolute heroes, and he’s ten feet away. According to Jherek Bischoff, who was playing bass that night, he looked over and saw Badalamenti smiling. The man who wrote the music gave them a double "thumbs up."
If the guy who wrote "Laura Palmer’s Theme" thinks your noisy, terrifying version is good, you’ve basically won the game.
Why It Still Hits Today
We live in an era of "Lynchian" being used to describe everything from a weird commercial to a slightly foggy morning. It’s a diluted term.
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But Xiu Xiu plays Twin Peaks keeps the term's teeth. It reminds us that Twin Peaks wasn't just about quirky neighbors and cherry pie. It was about incest, murder, demonic possession, and the absolute fragility of the American dream.
Xiu Xiu uses "Nightsea Wind" and "Packard's Vibration" to explore the ambient dread that usually sits in the background of the show. By bringing the noise to the foreground, they force the listener to confront the horror that Laura Palmer was living through.
The final track, "Josie's Past," isn't even a song in the traditional sense. It's a monologue. It's unsettling. It’s the kind of thing you don't listen to twice in a row, but you never forget hearing it once.
Practical Ways to Experience This Properly
If you're just getting into this, don't just put it on as background music while you're doing dishes. You'll probably just get a headache.
- Get the Vinyl (if you can find it): The 2LP "White/Clear" edition from Polyvinyl is a beautiful object. The artwork is stark and fits the mood perfectly.
- Watch the GOMA Footage: There are clips on YouTube from the original Brisbane performance. Seeing Shayna Dunkelman on the vibraphone while the room is bathed in red light changes how you hear the audio.
- Listen in the Dark: This is "headphones music." There are layers of percussion and tiny, electronic "glitches" that you won't hear on a phone speaker.
- Pair it with "The Return": If you haven't watched Season 3 of Twin Peaks yet, this album actually feels closer to the tone of the 2017 revival than the original 90s series.
Actionable Insights for the Curious Listener
If you want to dive deeper into how this project changed the way we think about soundtracks, start by comparing the 1990 soundtrack version of "Dance of the Dream Man" with Xiu Xiu's version back-to-back. Notice how the original uses space and silence, while Xiu Xiu fills that space with a vibrating, anxious energy.
Next, look into the 2024 re-releases or digital streams on Bandcamp. Supporting the artists directly is the best way to ensure weird, risky projects like this keep happening. Most importantly, don't be afraid of the noise. In the world of David Lynch, the noise is usually where the truth is hidden.