ATLRetro

Photo courtesy of Russ Marshalek.

When TWIN PEAKS: FIRE WALK WITH ME was released in 1992, it evoked boos in Cannes and derision from almost all US critics and many loyal David Lynch fans. However, over time, the film, meant to be a hybrid of prequel and sequel to the iconic TV series, has acquired its own cult following who revel in the excessive grotesque, over-the-top symbolism and psychological horror dualism of Leland Palmer and the corrosive Bob. One of these new advocates is once-Atlanta resident/now New Yorker Russ Marshalek, a musician, DJ and looper whose previous project with Sophie Weiner, the Silent Drape Runners, devoted much of its creative energy to re-soundtrackings and re-imaginings of the iconically weird TV series, a precursor to quirky cable dramas of today. Now with his new solo project a place both wonderful and strange, he’s doing a live re-scoring of TWIN PEAKS: FIRE WALK WITH ME this Sunday Sept. 15 at 7 p.m. at the Highland Inn Ballroom, and well, while Angelo Badalamenti‘s score was a film high point, maybe the Log Lady injected us with a primal sense of curiosity.

The idea of new fans and a new soundtrack makes me wonder if TWIN PEAKS: FIRE WALK WITH ME might have been received better as a standalone feature, in other words, if the series hadn’t existed. I, for one, recall hating it for the same reasons as Quentin Tarantino did – Lynch was so out-Lynching himself that it became almost a parody of the cinematic vision I had grown to admire from ERASERHEAD to THE ELEPHANT MAN to, of course, BLUE VELVET, and WILD AT HEART. TWIN PEAKS was an epiphany when it hit the airwaves, and Audrey Horne (Sherrilyn Fenn) became my role model for how to be all innocence and tease, saddle shoes and maraschino cherries. Alas or maybe for the better, Fenn, along with Laura Flynn-Boyle, skipped the movie, although the pass did not save her career. Lynch also had lost his co-series creator Mark Frost by then, and even Kyle McLachlan sought to minimize his role. Maybe it’s the train wreck aspect also that perpetually fascinates, the longing that something highly anticipated, such as Audrey’s slow knotting of the cherry stem in her mouth, would be better than I remember. Chris Isaak and David Bowie also played roles in it. Yeah, just plain weird. Which also is totally Lynch.

ATLRetro caught up with Russ because I had to ask “why?” I’m happy to report, he left me asking “why not?”

ATLRetro: You and Sophie just disbanded the Silent Drape Runners. How is your new solo project, a place both wonderful and strange, similar or different to your past work? And is that place TWIN PEAKS?

The production work for Silent Drape Runners was mostly me, and when Sophie and I parted ways I immediately knew that I wanted to continue with what I’d been doing, so a place both wonderful and strange is a similar creative vision, but it’s mine. The music is a bit more accessible, I think, and live performances incorporate a heavy visual and dance element. That carries over into the FIRE WALK WITH ME show, which is a bit more theatrical than the SDR shows were. On the whole if you liked SDR, I think you’ll love a place both wonderful and strange.

Let’s go back to the beginning. What was your entree into the world of TWIN PEAKS, and why did it entice you so much as to become such a central theme of your music? Were you already a fan of David Lynch’s work?

Lucy, my friend/current vocalist/then-gf, introduced me to TWIN PEAKS when I bought her the Gold Box for Xmas one year ages ago. It broke the conventions of everything I thought could be done with using images to create a mood – I am, and have always been, more about words or sounds. That was the gateway drug. Combine that with the fact that Lynch’s influence is inescapable in the modern dark electronic music scene, and there you have it.

TWIN PEAKS’ second season was not as satisfying as the first — some say it descended into strange for strange sake once Laura Palmer’s murder was resolved. And TWIN PEAKS: FIRE WALK WITH ME doesn’t get a lot of love from critics. What are your thoughts and why if the show didn’t end on a high note does it have still have such a following nearly 25 years later. 

I attended a lecture recently done by this group FEAST OF FOOLS here in Brooklyn, at the occult bookstore Catland, on David Lynch, TWIN PEAKS and the occult. In it, the end of TWIN PEAKS Season 2 was discussed: how when Lynch returned to the show he did so in a BIG way. And I agree – yeah, a lot of season 2 was “eh,” but the end of the show was phenomenal, and that’s what sticks with you. Honestly, FIRE WALK WITH ME is one of my absolute favorite things, and though it wasn’t adored by critics at the time, I think it shines as a terrifying masterpiece.

There have been other re-soundings of TWIN PEAKS: FIRE WALK WITH ME. What makes yours different and worth coming out on a Sunday night? 

What we’re presenting is a unique vision: we’re not adhering to what Lynch and Badalamenti have laid down as gospel, but rather taking the dualistic playful/terrifying nature of the source material and using it as inspiration. There’s a live performance aspect that goes into it, and honestly if I ever scanned the notebooks of concepting that went into these two hours, it would be enough to drive a sane person nuts. Also, yeah, it’s a Sunday, but you’ll be home by 10 p.m.

Are there specific parts of the film that were especially interesting or challenging to re-conceive musically? 

Laura’s death. It’s easy to treat that with TOO MUCH gravitas, and that’s not what the show is about. Yes, it’s terrifying and emotionally draining and horrific, but it’s also campy and outlandish. The trick was finding a middle-ground. The whole movie, in fact, is like that.

If I understand correctly you did the soundtrack in collaboration with GHOST COP, aka Lucy Swope. What’s Lucy’s part in this? 

Lucy and I actually dated ages ago; we’re just friends now. Lucy’s GHOST COP project is really impressive electronic space pop. As I said, she introduced me to Lynch. She also had performed a few times with Silent Drape Runners, doing a twins/doubling performance with my former band-mate Sophie on a witchy version of “God Only Knows.” When there was a gig to fill doing a show for the David Lynch Foundation in South Carolina post-SDR, we talked and the pieces kind of fell into place. I love FIRE WALK WITH ME, probably more than the entirety of the series as a whole, so the show kind of started from there. We took to the film with a scalpel and came up with something that’s playful, a little inappropriate and creepy as hell. She does the majority of live vocals.

Looping and goth music are obviously strong influences on your work. What about some of the iconic experimental industrial groups such as Throbbing Gristle and Einsturzende Neubaten?

Looping/drone was one of my first musical loves. I used to walk around the Barnes and Noble on Peachtree in Atlanta and listen to the sound the store’s air conditioner made. It was a really uniquely repetitive tone that was strangely highly nuanced. IDM stuff like Autechre and old Warp/Rephlex Records stuff also factor in there, too. The work of Chris and Cosey‘s stuff under that moniker more so than Throbbing Gristle, though obviously Throbbing Gristle is incredibly important. Nine Inch Nails. My Bloody Valentine. My hair stylist pointed out to me the obvious nods to Coil.

Russ Marshalek. Live photo taken by The Culture Of Me. Photo credit: Zhang Qingyun; Art Direction: Deanna Paquette.

What do you think of DUNE? To me, it’s always been an intriguing but tragically flawed film, and I’d be very interested in seeing a re-sounded interpretation. 

HMMMMMMM. 🙂

You and Lucy used to live in Atlanta. Does your show here have a special resonance because of that, and what else would you like locals to know about what you have planned? 

Atlanta’s always a fun place to play. My old band had a great time playing some gigs there last year. It’s where I grew up. Plus it’s the last show of the tour. We’re doing four shows in four days, so I will be in a pretty festive mood after. Maybe we should all go to The Bookhouse? 😉

While you’re here in Atlanta, you’re also DJ’g a Depeche Mode after-party Thursday night at Noni’s. Can you tell us a little bit about what you have planned for that? 

Yeah that should be fun – the folks who run the NONSENSE Atlanta parties and I are doing that . Up here, I DJ so much pop music that I’m really excited for a chance to dig into some darker dance tunes without anyone asking me for “Blurred Lines.” I have an external hard drive full of stuff that I can’t wait to play.

Will there be a recording of the re-soundtrack and what’s next for a place both wonderful and strange? I take it that it won’t be all TWIN PEAKS, or will it?

No, no recordings. The original Silent Drape Runners re-soundtracking of the TWIN PEAKS pilot was recorded at our final show in August, and that’ll be coming out next month, but I feel about this show the way I felt about that one – it can’t be experienced unless it’s live. The live, performative aspect of it is what makes it special. What’s next for my project? I’m putting out the music video for my single DNT CM, finishing my ep.

Finally, gotta ask. If we went to a diner, would you order coffee and cherry pie?

YES, but not at Waffle House.

Advance tickets are recommended and available at https://aplacebothatlanta.eventbrite.com/.

From 1994 to 2005, only one Atlanta nightclub had a reputation for being the most audacious, notorious and outrageous. If you lived here then, you know which one I’m talking about—The Chamber. Tucked away in a warehouse behind the strip clubs of Cheshire Bridge Road (now The Jungle), you might not see much besides a few lonely Goths swaying tragically to an industrial soundtrack if you arrived early. But around 11 pm to midnight, they began to arrive and soon the place would be packed with the city’s most diverse nightlife—fetish enthusiasts in black leather and latex, dazzling drag queens, big hair, marvelous make-up and, standing out like neon in a church, mundane preppie “tourists” from Buckhead and the ‘burbs.

However, the Chamber wasn’t just about crowd-watching. It featured live entertainment both on a main stage and in a variety of titillating smaller spaces such as The Shower Room, the Peep Show and the Flashlight Room. While not as extreme as the BDSM scene in New York, the fetish shows strived to be provocative but also never forgot a sense of playfulness, and you could even purchase your own fetish-wear and sexy lingerie onsite at a satellite location of the Little 5 Points boutique, Throb. At the end of the wee hours of the morning, like other great local clubs such as 688 and the Metroplex, a night at The Chamber became less about shocking a few yuppies and more about the friends you made. And like every memorable grand salon, behind the curtains was a great hostess, Mon Cherie.

This Saturday April 16, for one night only, Mon Cherie will be resurrecting that scandalous spirit with Mon Cherie’s The Chamber Reunion in Purgatory and Hell at The Masquerade. Among the festivities are live fetish performances, burlesque/Boi-Lesque,  aerial feats, go-go dancers, drag skits, body paint, a chocolate bar, a dungeon/play area, vendors, raffle and, as the Facebook event listing coyly promises “more surprises to tickle your fancy.” Ever the ringmistress, over the years since The Chamber closed, Mon Cherie has proven an uncanny ability to assemble the best in local talent to stage a parade of Rockabilly Lounges, burlesque shows and other one-of-a-kind social gatherings. So it’s no surprise that this event’s performers include many stars of the local fetish and burlesque scenes including emcee Miss Mason, Secretroom alumna Evil Sarah, Fonda Lingue, Stormy Knight, Catatonic Raucous, Chandler Bearden, Melissa Coffey, and many more. But to give you an exclusive sneak peep, who better than Mon Cherie herself…

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