8. Julee CruiseFloating Into The Night
She just passed away, and I think it’s so sad. This is a kind of dedication to her, because… what a career. There’s so much loneliness, and generosity in sharing this loneliness. It’s so moving, it’s very unique, and I don’t think anyone managed to do another record like this, which is also something I think I would say for each artist I chose. What I listen to is that uniqueness, their weirdness. I’m really not interested in perfection in music. I’m interested in personality and how in music, there is a world in itself. Of course, this is connected to Twin Peaks, a world in itself too. Her voice is a real voice, and I think that’s what Lynch understood in his films: a film is made by real flesh, by characters. Even if the story is invented, there are different layers of reality and fiction, and the first reality is the voice because the voice is there. And her voice and the instrumentals all behind it – it’s like a ghost.
What do you think of how she uses the voice? It’s not the focal point, it complements everything else.
Yeah, it’s composed like the chef d’orchestre, the maestro. And I think Joan La Barbera had that, but clearly for Julee Cruise, it’s the instrument, this voice. But it’s also the boat: it’s what carries the music and makes it real. What I also like about what she does is that it’s never too much. She had this amazing way of going up, falling down. She’s not giving everything, but then there is this a subtlety, it’s contained. So somehow, it’s very precise.
