AS A film-maker, David Lynch falls firmly into the “admired by many, loved by few” category.
Despite an oeuvre including many undoubted masterpieces,his wilful strangeness generally makes for uncomfortable viewing, forever confining him to cult favourite status. On the evidence of The Big Dream, he seems unlikely to break that mould as a musician.
Let’s start with the good stuff. Single I’m Waiting Here, with Lykke Li on vocals, is gorgeous, the Swedish singer-songwriter perfectly complementing the track’s twinkly pop groove and coming like a dose of honey after the preceding 12 tracks of Lynch’s gravelly and treated tones.
Sun Can’t Be Seen No More, with its crunchy guitar and poppy melody, is a highpoint, as is the cover of Bob Dylan’s The Ballad of Hollis Brown, Dylan’s way with a tune lifting the track above the melodically average fare on offer elsewhere.
Lynch is not afraid to dip his toes into the genre pool – there are stabs at rockabilly, old school hip hop, Pet Shop Boys-like electro-pop and Protection-era Massive Attack – but the whole thing is cloaked in a space-age fog which makes pretty much every song sound the same.