Julie Cruise's ethereal vocals go down in history with Twin Peaks and Blue Velvet. She even made a cameo appearance as a bar singer in "Twin Peaks", and her figure in the 1990s floated to 2017, becoming one of the few constants in this wonder.
In addition to David Lynch (David Lynch), Julie Cruise's musical life has many colors. She learned the French horn and played off Broadway; replaced Cindy Wilson, frontwoman of the new wave band The B-52s; and recorded albums with dance group Deee-lite. But her brightest moments came from the trio with David Lynch and Queen Composer Angelo Badalamenti.
Sheer vocals aren't uncommon, and Julie Cruise wasn't the first, nor will she be the last. To this day, female voices in this group are still thriving, including Lana Del Rey and Sky Ferreira. Julie Cruise said: "They sing like sexy little girls, but they all have a distinct personality."
What is her own personality? Shrouded in sorrow, without boundaries, blurring time. Cruise's love of brass instruments is not without reason. The bright, firm, and fleshy sound of the brass tube matches her voice best. If her voice is the wind blowing through the Miscanthus, the copper pipe is the chirping of insects in the grass. The two are indispensable, and together we weave the autumn evening song.
On June 9, local time, American musician Julie Cruise committed suicide at her home in Massachusetts at the age of 65. Husband Edward Grinnan said on social media: "She passed away peacefully in her own way. No remorse." David Lynch said: "Now is the time to enjoy all her music. She has A great musician, singer and a nice guy."
Then honor her with five of Julie Cruise's songs.
David Lynch originally wanted to use This Mortal Coil's "Song to the Siren" in "Blue Velvet", but the copyright was too expensive. He left the task to Angelo Baradamanti to distill usable music from his inspirational notes. Lynch only set the most general requirements for the specific form of the song: "Angelo, let the music sound like the wind." Angelo refined the director's request, he believes that the song "must be like floating In the sea of time, there is a feeling of cosmic sound."
Angelo asked Julie Cruise, who had collaborated several times before, to recommend a singer. Cruise introduced several people, but they were all unsuccessful. She decided to try it herself, but found that she didn't like the aesthetically pleasing voice. Before that, Julie Cruise played Janis Joplin in the theater. Joplin's powerful female voice was clearly far from what David Lynch wanted.
Cruise had to swap out the entire voice personality to live up to the director's request. Soft, soft again, the bones and muscles are ripped off, leaving only the gurgling blood. But she didn't cut her feet to fit her feet, because she found that singing in this way was like "a woman in a pure male choir", and the sound was like a silver arrow shooting through the sky.
Falling (1989)
"Mysteries of Love" began the long-term collaboration of Baradamanti, Lynch and Cruise's triangle. The three went on to join forces, with two men writing the lyrics and music for Julie Cruise's 1989 debut solo album, Floating Into the Night. The album was released, and Cruise quickly became a fantasy pop icon. Her short hair, big almond eyes and pointy chin combine beautifully with a touch of weirdness. When she is immersed in the music and sings like no one else, because the voice lacks hard substance, this face seems to be split into many faces, which corresponds to the nightmare of "Eternal Reincarnation" in David Lynch's works.
It's only logical that David Lynch took a few songs from this album to put on his "Twin Peaks." The purely instrumental version of "Falling" became the show's theme song. The first few notes are like eyes opened in the dark, staring fixedly ahead. After Julie Cruise's vocals were added, the strange eyes dimmed. The vocals floated up and up, and the blonde Cruise's face emerged from the ochre-red background. With her eyes closed, the waterfall rumbled down, her thin red lips moved, and a puff of smoke rose to the sky. This difficult drama has a clear image because of this moment.
Summer Kisses, Winter Tears (1991)
Between sets of "Twin Peaks", Lynch, Baradamanti, and Cruise had another play -- a cover of Elvis Presley's "Summer Kisses, Winter Tears" . It's an old 1960s song about the fleetingness of love that still sounds very familiar today. Elvis sang as if from an old-fashioned barbershop's radio, and the barber and the customer spent a few minutes thinking about their own thoughts.
Julie Cruise's version looks like the original even the arrangement, but the smoke of the harmony blurs the vision, and the sparse piano is like an ant crawling across the floor tiles, strung with clues of memory. In her performance, she replaced pure heartbreak with thoughts about identity and existence.
"Questions in a World of Blue" (1992)
After Twin Peaks: Fire Walk With Me wrapped up in 1992, the trio returned to the studio, trying to make the film the same as Wild At Heart (1990). The soundtrack becomes yet another Julie Cruise album.
Her second album, The Voice of Love, was born. "Questions in a World of Blue" is another lost love song. Julie Bruce sings like the gauze of a drowning woman floating on the water as the last memento of a dead love.
The thick reverberation hummed in his ears, and Cruise used this as a barrier to avoid the influence of the times, and only obeyed the guidance of his inner pointer. Following the release of this album, she returned to the London stage and began a series of beautiful moments in her career.
The Art of Being a Girl (2002)
In the 1990s, Julie Cruise devoted most of her energy to the new wave band The B-52s. She replaced lead singer Cindy Wilson, who had to take care of children, with the band.
In 2002, Bruce's third studio album, The Art of Being a Girl, was released. This is her first completely solo work. Without the participation of David Lynch and Angelo Badaramenti, Cruise jumped out of the former soundstage and bid farewell to the Lynch universe. She injects a small amount of metallic liquid into her voice, steers the music in the direction of trip-hop, and causes the still water to bubble up with carbonic acid.
In the world of David Lynch's images, both men and women may fall into the Mobius belt. Identity is no longer important, because no matter what identity is converted into, it will face the same doom. Julie Cruise jumps out of this nightmare and goes back to a more "reality" level. She wanted to talk about female identity on this album. "This album is about how we understand who women are, how we love them. I see how the predecessors did it: Madonna, Kim Gordon, Kate Pierson...they It is God that makes people willing to appreciate and recognize.”
"I crawled out of the chrysalis with my bare hands." She knows how to express strength in a gentle singing voice, so she sings: "Please use your tears gently / But remember to always work hard for your goals."
In addition to David Lynch (David Lynch), Julie Cruise's musical life has many colors. She learned the French horn and played off Broadway; replaced Cindy Wilson, frontwoman of the new wave band The B-52s; and recorded albums with dance group Deee-lite. But her brightest moments came from the trio with David Lynch and Queen Composer Angelo Badalamenti.
Sheer vocals aren't uncommon, and Julie Cruise wasn't the first, nor will she be the last. To this day, female voices in this group are still thriving, including Lana Del Rey and Sky Ferreira. Julie Cruise said: "They sing like sexy little girls, but they all have a distinct personality."
What is her own personality? Shrouded in sorrow, without boundaries, blurring time. Cruise's love of brass instruments is not without reason. The bright, firm, and fleshy sound of the brass tube matches her voice best. If her voice is the wind blowing through the Miscanthus, the copper pipe is the chirping of insects in the grass. The two are indispensable, and together we weave the autumn evening song.
On June 9, local time, American musician Julie Cruise committed suicide at her home in Massachusetts at the age of 65. Husband Edward Grinnan said on social media: "She passed away peacefully in her own way. No remorse." David Lynch said: "Now is the time to enjoy all her music. She has A great musician, singer and a nice guy."
Then honor her with five of Julie Cruise's songs.
Julie Crews
Mysteries of Love (1986)David Lynch originally wanted to use This Mortal Coil's "Song to the Siren" in "Blue Velvet", but the copyright was too expensive. He left the task to Angelo Baradamanti to distill usable music from his inspirational notes. Lynch only set the most general requirements for the specific form of the song: "Angelo, let the music sound like the wind." Angelo refined the director's request, he believes that the song "must be like floating In the sea of time, there is a feeling of cosmic sound."
Angelo asked Julie Cruise, who had collaborated several times before, to recommend a singer. Cruise introduced several people, but they were all unsuccessful. She decided to try it herself, but found that she didn't like the aesthetically pleasing voice. Before that, Julie Cruise played Janis Joplin in the theater. Joplin's powerful female voice was clearly far from what David Lynch wanted.
Cruise had to swap out the entire voice personality to live up to the director's request. Soft, soft again, the bones and muscles are ripped off, leaving only the gurgling blood. But she didn't cut her feet to fit her feet, because she found that singing in this way was like "a woman in a pure male choir", and the sound was like a silver arrow shooting through the sky.
Falling (1989)
"Mysteries of Love" began the long-term collaboration of Baradamanti, Lynch and Cruise's triangle. The three went on to join forces, with two men writing the lyrics and music for Julie Cruise's 1989 debut solo album, Floating Into the Night. The album was released, and Cruise quickly became a fantasy pop icon. Her short hair, big almond eyes and pointy chin combine beautifully with a touch of weirdness. When she is immersed in the music and sings like no one else, because the voice lacks hard substance, this face seems to be split into many faces, which corresponds to the nightmare of "Eternal Reincarnation" in David Lynch's works.
It's only logical that David Lynch took a few songs from this album to put on his "Twin Peaks." The purely instrumental version of "Falling" became the show's theme song. The first few notes are like eyes opened in the dark, staring fixedly ahead. After Julie Cruise's vocals were added, the strange eyes dimmed. The vocals floated up and up, and the blonde Cruise's face emerged from the ochre-red background. With her eyes closed, the waterfall rumbled down, her thin red lips moved, and a puff of smoke rose to the sky. This difficult drama has a clear image because of this moment.
Summer Kisses, Winter Tears (1991)
Between sets of "Twin Peaks", Lynch, Baradamanti, and Cruise had another play -- a cover of Elvis Presley's "Summer Kisses, Winter Tears" . It's an old 1960s song about the fleetingness of love that still sounds very familiar today. Elvis sang as if from an old-fashioned barbershop's radio, and the barber and the customer spent a few minutes thinking about their own thoughts.
Julie Cruise's version looks like the original even the arrangement, but the smoke of the harmony blurs the vision, and the sparse piano is like an ant crawling across the floor tiles, strung with clues of memory. In her performance, she replaced pure heartbreak with thoughts about identity and existence.
"Questions in a World of Blue" (1992)
After Twin Peaks: Fire Walk With Me wrapped up in 1992, the trio returned to the studio, trying to make the film the same as Wild At Heart (1990). The soundtrack becomes yet another Julie Cruise album.
Her second album, The Voice of Love, was born. "Questions in a World of Blue" is another lost love song. Julie Bruce sings like the gauze of a drowning woman floating on the water as the last memento of a dead love.
The thick reverberation hummed in his ears, and Cruise used this as a barrier to avoid the influence of the times, and only obeyed the guidance of his inner pointer. Following the release of this album, she returned to the London stage and began a series of beautiful moments in her career.
The Art of Being a Girl (2002)
In the 1990s, Julie Cruise devoted most of her energy to the new wave band The B-52s. She replaced lead singer Cindy Wilson, who had to take care of children, with the band.
In 2002, Bruce's third studio album, The Art of Being a Girl, was released. This is her first completely solo work. Without the participation of David Lynch and Angelo Badaramenti, Cruise jumped out of the former soundstage and bid farewell to the Lynch universe. She injects a small amount of metallic liquid into her voice, steers the music in the direction of trip-hop, and causes the still water to bubble up with carbonic acid.
In the world of David Lynch's images, both men and women may fall into the Mobius belt. Identity is no longer important, because no matter what identity is converted into, it will face the same doom. Julie Cruise jumps out of this nightmare and goes back to a more "reality" level. She wanted to talk about female identity on this album. "This album is about how we understand who women are, how we love them. I see how the predecessors did it: Madonna, Kim Gordon, Kate Pierson...they It is God that makes people willing to appreciate and recognize.”
"I crawled out of the chrysalis with my bare hands." She knows how to express strength in a gentle singing voice, so she sings: "Please use your tears gently / But remember to always work hard for your goals."
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