Thomas Truax sounds like a Canadian lumberjack but in fact he is a New Yorker currently living in London. He’s a leftfield musician who actually creates his own instruments which have included a ‘Hornicator’ and a drum machine called ‘Mother Superior.’ So he’s not your run-of-the-mill singer/songwriter. When asked “Why David Lynch?” he explained that he felt that Lynch and himself shared a liking for certain brands of strange and beautiful rock and roll. He added that he had been told on several occasions that his music sounded like it had came from a David Lynch movie. So it seemed natural for him to scour the David Lynch movie soundtrack library and select some of his favourites to ‘Truax’

Now it goes without saying that Truax’s versions are very different from the originals, the big question is are they as good or better. Chris Isaak’s ‘Wicked Game’ is indeed a wicked starting point and Truax makes a good fist of it through giving a bassier, darker and slower treatment. Vocally, Truax sounds like a crusty, monotoned, tobacco-chewing cowhand and it’s this that provides a distinctive and interesting twist to the song. ‘Twin Peaks’ is the next to fall under the Truax but looses all of its mysticism, magic and charm. ‘Baby Please Don’t Go’ is far more successful with its long, rough-hewn guitar riffs and perfectly matched vocal that sounds like it’s whispering into the relevant lady’s ear at times. It’s a cracker and an album highlight. ‘Blue Velvet’ reveals a softer side to Truax’s voice as he croons his way through this superb original. But you know, it works… David Bowie and Brian Eno’s ‘I’m Deranged’ sees the vocal going into contemplative and expressive mode. The instrumental arrangement travels the same smooth tarmac highway, and I hate to admit this but I’m beginning to like this album.

Long-time Lynch collaborator Angelo Badalamenti provides the next instrumental song, ‘Audrey’s Dance’ with Truax managing to maintain it’s dark, eerie, haunted house feel. Like it. ‘Black Tambourine’ is a jagged, dirty interpretation and this jury’s out on it - a few more listens maybe… ‘I Put A Spell On You’ has Truax sounding like Tom Waites and Little Richard rolled into one. The rebounding, hirdy-girdy rhythm does wonders for the song and I end up liking it a lot. ‘In Heaven (Lady In The Radiator Song)’ is full of weird electronic effects, chirping birds, flapping wings, wobbling sheet metal, whistles and sampled/warped vocals. It’s plain weird and somewhat spooky. And it works. The final paragraph of this musical chapter ends with Roy Orbison’s ‘In Dreams.’ It’s a stark, choppy and uncomfortable ride which doesn’t work for me.

This is a novel idea for an album which, surprisingly, works well most of the time. Truax fans will love it, and I suspect Lynch may well be tempted to send a few songs Truax’s way in some future movie project. It’s not a great album but good enough to recommend to those who like a bit of adventure in their musical lives.

3.9/5