Leeni Ramadan: I was exposed from an early age and have had a lifelong love for that sound, but it’s a bit of a mystery to me as to why - maybe it seeped in from the womb. Modern Vinyl: What was your first exposure to girl groups and doo wop? Here, we premiere one of the album’s highlights, “Blonde.” You can listen to that below, and read our interview with the group’s frontwoman, Leeni Ramadan. If you’ve enjoyed the darkly mysterious versions of the girl-group sound Prom Queen has explored on Night Sound and Midnight Veil, then you’ll likely adore Doom-Wop, an album to which I’ve returned again and again since it showed up in my inbox a couple of weeks ago. However, per the band, it’s different, and more of an album that “celebrates the ensemble that we’ve built over the last few years.” That camaraderie has been “built from the ground up,” they state, and it really shows. Prom Queen’s upcoming album, Doom-Wop, is a continuation of the sound the Seattle group has honed on their previous two releases. "Exclusive Spin: Prom Queen’s ‘Blonde’ & interview with Leeni Ramadan" If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter. Twin Peaks pie chart illustration by Lucy Vigrass. But in the theatre, when the curtains open, you have this fantastic euphoria that you're going to see something new, something will be revealed.” In the Red Room, where spirits journey towards perfection, the curtain marks the divide between the dream world and the real. “Sometimes it's so beautiful that they're hiding it gets your imagination going. “Curtains are both hiding and revealing,” he says. The red curtain often crops up in Lynch’s works, and has rich meaning for the director. The most striking drapes in town have to be the curtains in the Red Room, lit up by strobes behind a dancing dwarf. Twin Peaks is a peek behind the veil of respectability that characterises small-town life, and drapes feature prominently throughout: Laura Palmer’s body is wrapped in a shower curtain, and the one-eyed Nadine Hurley is obsessed with inventing a “silent drape runner”. As Lynch told The Guardian: “I used to go to well-lit diners, because in a well-lit diner I could sit and think and daydream and I could go to dark places knowing that I could surface in a well-lit, safe place.” The American dream too, takes a nightmarish turn with the discovery of a severed ear amid Blue Velvet’s suburban picket fences, or the cocaine addict prom queen of Twin Peaks. The unconscious is constantly bubbling over in Lynch’s films, from Mulholland Drive’s shifting realities to the fractured identities of Lost Highway – he has described Blue Velvet as "a dream of strange desires wrapped inside a mystery story". From that moment on, the characters are never entirely lucid, dipping in and out of reveries involving giants, dwarves or one-armed men. In the first episode of Twin Peaks, when Laura Palmer’s body is found, another girl is discovered wandering along railroad tracks in a fugue state. And almost every character in Twin Peaks is leading a ‘double life’. Laura Palmer even had her own doppelganger in her near-identical cousin Maddy (both played by Sheryl Lee). And there’s the ‘good guy’ biker and the ‘bad guy’ athlete, the good FBI agent in Dale Cooper and his evil double in Windom Earle.
There’s the good man Leland Palmer who is corrupted by the evil side of his personality, Bob, who may really be a demonic spirit.
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The motif of the doppelganger runs through the series and reflects David Lynch’s Manichean view of a world as divided between good and evil. Special mention must go to the feline charms of Audrey Horne – played to slinky perfection by Sherilyn Fenn, who reached cult status with her slow dancing – and the ability to tie a knot in a cherry stalk with her tongue. The show oozes sex appeal and glamour – from the retro aesthetics of the sets and costumes to the beautiful cast.
And the existence of the high-end brothel, One Eyed Jack’s – where high-school girls double as prostitutes – reveals a shadowy underside to Twin Peaks’ cheery small-town image. From behind Laura Palmer’s wholesome façade, all sorts of sexual transgressions are revealed. Romance – and adultery – abound, from sleezy hotelier Benjamin Horne and the lascivious Catherine Martell, to the honest gas station owner Ed and the diner’s doe-eyed Norma. And just like a conventional soap, in Twin Peaks, nobody is sleeping with who they should. David Lynch recently described Twin Peaks as a “ soap opera”, reflecting the melodramatic fictional serial, An Invitation to Love, that has its characters hooked.
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