Metamatic Forums News and Announcements John Foxx news "Blue Velvet Revisited" : A film by Peter Braatz

In 1985 a young German filmmaker, Peter Braatz, was invited by David Lynch to Wilmington, North Carolina, to document the making of his new film, the iconic Blue Velvet.

Over the following two months Peter was given unrestricted access to set, cast, crew and director, collating hours of behind the scenes footage, in-depth interviews and thousands of photographs.

The resulting abstract No Frank In Lumberton film, released in 1988 with highly limited distribution, has never been commercially released. What's more, over 70% of the footage collected on set was never used. UNTIL NOW.

Featuring exclusively never before seen footage, the feature length Blue Velvet Revisited will finally offer the most intimate, revealing and definitive insight into one of the greatest films of the 1980s, and one of the world's greatest ever directors.

As well as the documentary film, there will be an accompanying photo book. The evocative soundtrack for the film will be composed and performed by Cult With No Name, Tuxedomoon and John Foxx.

To keep up to date with the development of the film, book and soundtrack, and to access exclusive previews, visit the Blue Velvet Revisited Facebook page.

Rob

Well, this certainly intrigues me. Is this soundtrack music new material? I can imagine John Foxx and Tuxedomoon doing some good music for something like this. I'll have to investigate Cult With No Name, I guess.

Am really looking forward to this, the Facebook posts have only recently mentioned the soundtrack and contributors, but am hoping it will come out late this year. As has been said many times, John's instr music can be quite filmic so this is the perfect vehicle - do hope it's new stuff
Cheers

The tracklisting for 'Blue Velvet Revisited' our forthcoming album with Tuxedomoon will be as follows. Vinyl and CD folks!
1. The Slow Club
2. Lumberton
3. Do It For Van Gogh
4. So [censored] Suave
5. Now It's Dark
6. Dorothy
7. Lincoln Street (performed by John Foxx)
8. A Candy Colored Clown
9. Frank (CD and download only)
10. Alligator Briefcase
11. Jeffrey Nothing
12. Until The Robins Come
13. Don
14. Sandy (download only)

Release date to be announced soon

Brian

Great news - thanks Brian!

And now with track times…

01. The Slow Club [5:14]
02. Lumberton [4:53]
03. Do It For Van Gogh [4:30]
04. So F*cking Suave [4:21]
05. Now It's Dark [3:58]
06. Dorothy [2:29]
07. Lincoln Street [9:15]
08. A Candy Colored Clown [2:46]
09. Frank [3:52]
10. Alligator Briefcase [3:20]
11. Jeffrey Nothing [4:36]
12. Until The Robins Come [4:04]
13. Don [5:07]
14. Sandy [3:43]

The John Foxx track (Lincoln Street) is the longest on the album…



The Digital Download is currently available to pre-order on Amazon…

A brief sample of Lincoln Street can be heard here...

Rob

Looking forward to this - cheers all.

Has anyone else heard the David Lynch solo project? It was called Crazy Clown Time - a really good album.

Yes, enjoyed Crazy Clown Time. He has done another one since then which I wasn't so keen on but I don't think I really gave it enough listens (so far).

Cheers Church - had no idea he'd done another - will look out for it.

Both Compact Disc and Vinyl versions of Blue Velvet Revisited are now (also) able to be pre-ordered over at Amazon.

Rob

The first review of this is in September 2015's edition of The Wire

There's a number of unusual elements to Blue Velvet Revisited, volume 42 in Crammed's Made To Measure series of instrumental albums, not least the fact that it was commissioned before the completion of the film, a documentary of the same name by German film maker Peter Braatz (aka Harry Rag). In 1985, after years of correspondence with David Lynch, Braatz was invited to document the making of Blue Velvet. This culminated in 1988 with the TV documentary No Frank in Lumberton, which benefited from access to more than a thousand photos and endless hours of unrestricted, behind the scenes footage from Lynch's film. The impending 30th anniversary of the picture provided the occassion for Braatz to recompile the material material, this time in a feature-length documentary film that's due to be screened later this year.
Lynch and Braatz both suffered with a desperate case of temp track love, as it's called in the industry. It broke Lynch's heart that he couldn't use This Mortal Coil's version of Tim Buckley's "Song To The Siren", but this obstacle would lead to his longstanding collaboration with Angelo Badalamenti. For Braatz, UK electronic balladeers Cult With No Name's 2012 track "As Below" captured his heart. He needed music with this exact feel, and more of it, and unlike Lynch, he got his wish.
Braatz approached Erik Stein and Jon Boux of Cult With No Name to soundtrack the project, adamant that the music would not be influenced by Badalamenti, and that the score would dictate the film and not the other way round. When he discovered that Luc Van Lieshout of San Francisco post-punk/new wave outfit Tuxedomoon had played the trumpet part on "As Below", they struck upon the idea of commissioning both groups to do the soundtrack, with both recording separately, and CWNN editing and producing the overall score.
Combining their talents was a shrewd move. The two create a hybrid sound, faithful to their own work yet unique to the project. Tracks like "Frank" and "So [censored] Suave" make a nod to the soft and seedy jazz typical of Twin Peaks. The latter takes you even further into the Lynch canon with a subtle hint of David's Bowie's "I'm Deranged" from Lost Highway. "Do It For Van Gogh" and "Now It's Dark" hint at the scores of Morricone and Herrmann. There are notable performances from Van Lieshout on trumpet and Blaine L Reininger on violin, in particular the final track "Don", where both performances feel in tune with the work of both groups yet perfectly positioned within the context of the soundtrack. Nestled among this tapestry of contextual nods is "Lincoln St", a single track by John Foxx. It feels out of place yet marks a change in tone towards darker, more dynamic territory.
The Blue Velvet Revisited soundtrack politely differentiates itself from Lynch's film, even though there's a whisper of Badalamenti's beloved synth sound that admirers will pick up on. It's evocative, dreamy, dark and dynamic, and adds another chapter to the mysteriously connected cultural and musical elements surrounding the cult of Blue Velvet.

THE WIRE September 2015 Lara C Cory

My copy arrived in the mail today. Haven't reached the John Foxx track yet, but the first few tracks -- which I suspect are more Tuxedomoon than Cult With No Name -- are beautiful.

I downloaded John's track only. I've only listened to it once so far. Chilled and pleasant but it didn't really grab me. I will have to give it more time.

That's a shame.

Lincoln Street is pivotal to the album and sounds MUCH better in context

I imagine it does Martin but I couldn't justify buying the whole album just for one track. I made a decision that I need to seriously curb my spending with regard music. As much as I love it I spend too much. Once upon a time I wouldn't have hesitated in buying the album. I have no interest in purchasing music by groups I have no interest in just because they are on the same album as one of John's tracks.

This is a good read: http://www.electricity-club.co.uk/an-interview-with-tuxedomoons-blaine-l-reininger/

Here's a relevant brief sample:

The inclusion of a John Foxx track might be presumed to come from another of Erik Stein’s connections, but the links between Foxx and TUXEDOMOON go back a long way.

In the 80s – 80, 81 – both ULTRAVOX! and TUXEDOMOON were more in the media eye. We contacted each other by reading interviews with one another. We saw an interview with John Foxx in – I don’t know what – the NME, what have you, and they said, “What American bands do you find interesting?” He said, “This TUXEDOMOON I find very interesting.”

We said similar things. We liked what he was doing. We liked ULTRAVOX! I did, anyway. I was always a massive fan, when he was in the band, and I liked what he did after he left the band, as well.

There is a certain amount of influence – there are certain commonalities between, say, ‘Metal Beat’ and ‘Desire’. We were using the same gear, for that matter – the CR-78 village, in particular, causing a lot of these sounds.

And it wasn't just the same MODEL of gear - it was actually the same gear!

Foxx loaned / stored a lot of his kit at Jacobs Studio in Farnham while he went off to Europe (ahead of moving into The Garden) and while he was away, Gareth Jones used it to produce Tuxedomoon's Desire album

Tuxedomoon were the first band that Foxx wanted on his own Metal Beat label too