David Lynch’s Eraserhead rests firmly at the top of that canon of American underground culture for which there is no genre. A staple of the dark underbelly of popular cinema that was originally only viewable at arthouse screenings or on the Midnight Movie circuit, Eraserhead is a truly unadulterated offering; and much of its sensation lies beyond the purely visual realm. The stark, dusty black and white images put forth are caked with and submerged in a dense jungle of industrial hums, buzzes, screeches and screams.

Eraserhead is a narrative made up of two intertwined veins: one of bleak and beautiful pictures elegantly painted in gray and black; and one of blankets of sublime, enveloping noise and static, the tinkering of Fats Waller organ rolls echoing in the background.

David Lynch / Peter Ivers – “In Heaven”

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