Well, strictly speaking, the title of this post is a misnomer. Dark Night of the Soul, a collaboration between Danger Mouse, Sparklehorse, and David Lynch, is currently available for listening via streaming at NPR. It’s also available for (illegal?) download here, so yes, the album does actually exist. Except you can’t get your hands on it, at least not in a conventional, legal manner. As explained on the album’s website, “Due to an ongoing dispute with EMI, Danger Mouse is unable to release the recorded music for Dark Night of the Soul without fear of being sued by EMI.” So what you can actually purchase right now is either a poster plus a blank CD-R ($10) or a limited edition 100 plus-page book featuring visuals by David Lynch for the album and also a blank CD-R ($50). Danger Mouse “hopes that people lucky enough to hear the music, by whatever means, are as excited by it as he is.” (emphasis my own)
“By whatever means,” huh? It’s possible to see this as either a publicity stunt or a big f**k-you from Danger Mouse to EMI, seemingly encouraging listeners to download the music illegally and burn it on the CD-R for themselves without a single cent going to EMI. Whichever it may be, for me the music is the thing. With a lineup of vocalists/co-producers that includes Frank Black (Pixies), Julian Casablancas (The Strokes), Vic Chestnutt, The Flaming Lips, Jason Lytle (Grandaddy), James Mercer (The Shins), Nina Persson (The Cardigans), Iggy Pop, Gruff Rhys (Super Furry Animals), and Suzanne Vega, anyone who’s even half serious about their music can’t afford to give this a miss.
I’ve heard the whole album on NPR twice today, and some of the tracks more than that. For me, the album has its fair share of hits and misses: the contributions from The Flaming Lips, Gruff Rhys, Jason Lytle, and James Mercer are the strongest tracks on the album, while Mark Linkous (Sparklehorse), NinaPersson, James Mercer, and Suzanne Vega managed to hold my attention. I’m not so sure about the contributions from Frank Black, Iggy Pop, Julian Casablancas, and Vic Chestnutt; after two listens, I have yet to warm up to their songs. David Lynch’s tracks? Well, let’s just say I like his films more, and he’s no Angelo Badalamenti. Overall, I’d say that each artist’s trademark sound has been preserved, and yeah, the album’s a keeper, despite the weak tracks.
Now, do note that EMI has officially stated that “we continue to make every effort to resolve this situation and we are talking to Brian Burton (Danger Mouse) directly. Meanwhile, we need to reserve our rights.” So here’s my take on the whole situation. If you’re really interested in David Lynch’s photography for this project, go ahead and get the limited edition book, and maybe even catch the Dark Night of the Soul exhibition that opens at the Michael Kohn Gallery on May 30. But if you’re—like me—more interested in the music than anything else, wait a while. The album’s launch is in June anyway, and something tells me there’s a better than average chance we might see EMI officially distributing the album, perhaps even including Lynch’s photography.
In the meantime, “by whatever means,” go listen to Dark Night of the Soul.
