By Kate Gavino

As one who listened to the Twin Peaks soundtrack in her automobile on a regular basis, I can assure you that Crazy Clown Time is an appropriate name for a David Lynch album. I listened to the Twin Peaks soundtrack because it made driving that much more frightening and surreal. It added an air of danger, an air of very real threat to my well-being. Why would you want to feel safe in a car? Especially safe from your own mind? That’s for the unadventurous.

Crazy Clown Time is far less dangerous. Why did he make it? Because why wouldn't he. Also, have you listened to his films? David Lynch has been responsible for putting out a fair amount of awesome in the ear department. Just take a minute to listen to "Pink Room" by Badalamenti (Lynch’s composer for most everything). It's actually very similar to the style and tone of Crazy Clown Time.

I am not a music critic, by the way. For an actual legitimate "review," I suggest going here. I do, however, very much like the sexy drawl, strutting drums, and honky tonkish guitar thing happening throughout a lot of the album. Some of the songs are more upbeat, some more slow, but there’s always a little strut—a little sly smooth sexiness.

But then the vocals. Okay okay, the first track with Karen O is pretty damn awesome. I support that track one hundred percent. What I don’t understand—and where I think the true Lynch comes in to poke me, saying, "Hey, this is a David Lynch album. Not another kind of album but a David Lynch album. Beduh."—is the distortion on the vocals. Sometimes it’s like a whisper, other times it’s like a hyperactive computer child? Then it’s monotone and droney? And the effect, for me, is just goofy as all hell. On the other hand, if it weren’t for the bizarre vocals, the tracks would just be kind of okay, enjoyable songs. And I doubt David Lynch wants to make okay, enjoyable songs.

Also, to be hugely unfair, I’ve become obsessed with the soundtrack to Drive. And the main song I listen to on repeat, "Nightcall" by Kavinsky (featuring CSS's Lovefoxxx), has excellent distortion on vocals! So good. The distortion is perfect and the lyrics are just creepy and ambiguous enough. Listen.

It’s not fair of me, in the midst of my lovefest with the Drive soundtrack, to then listen to poor David—alone, without a film to sing for, without a room to furnish with sound. At least I’m keeping it in the family: Johnny Jewel, the man responsible for the Drive soundtrack, pays homage to Badalamenti in this interview.

As they say in "Nightcall," "I'm going to show you where it's dark, but have no fear."