David Lynch recorded three studio albums, and they’re excellent

Usually, when a Hollywood personality releases music, it feels like a publicity stunt—one that doesn’t survive past a couple of singles. (Although there are some fun ones.) This was not the case for David Lynch, the legendary filmmaker behind surrealist masterpieces like Twin Peaks, Blue Velvet, and Eraserhead. Throughout his career, Lynch released three studio albums. What’s more, they’re good.

Much has been written about Lynch’s incredible legacy after his passing. But Lynch’s music career hasn’t been talked about as much, which is a shame, as it very much feels like an extension of his famed film and TV work. In fact, Lynch was closely involved with the sound and music of his projects. His first film, Eraserhead, ends very memorably with “In Heaven,” a song Lynch co-wrote with songwriter Peter Ivers. He wrote and sang several songs for Inland Empire and penned lyrics for Angelo Badalamenti’s songs for Twin Peaks.

Given that background, it makes sense that Lynch would branch out and explore the world of music outside of his films. Lynch’s music has the exact same feel as his films: mysterious, surreal, a little grimy. While some of his music flirts with pop sensibilities, like the surprisingly catchy “Good Day Today,” they feel like sincere continuations of the same themes Lynch explored in his other work.

Lynch’s music feels experimental. It still feels Lynchian.

A brief tour of Lynch’s music

Like David Lynch’s films, his music often accentuates specific moments until they feel bizarre. This effect can be purely humorous. Take “Thank You Judge,” off his first “proper” studio album BlueBob, a collaboration with his friend, audio engineer John Neff. The song is largely dedicated to listing the various items the singer’s wife got in a contentious divorce, including even his “pork and beans.” The song ends with a police officer giving the singer a strip search.

The music videos for these songs (which Lynch largely directed himself) similarly feel like microcosms of his film work. Naturally, Naomi Watts—one of the stars of Mulholland Drive—plays the wife in Lynch’s music video for “Thank You Judge.”

However, that same effect can be much more menacing. The humor of putting the mundane into a song can slip quickly into becoming an investigation of humanity’s darker moments, such as on the title track of Lynch’s second album, 2011’s Crazy Clown Time. This time, thanks to the impetus gained from his songs from Inland Empire, Lynch sings his songs himself. The result just makes everything eerier, as Lynch’s whistle-like, high voice floats over dirty-feeling synths and bass, narrating the events of an increasingly disturbing party. “It was crazy clown time,” Lynch summarizes in the chorus. “It was really fun!”

Lynch’s collaborators on his music projects tell you everything you need to know about how deeply respected Lynch was in multiple circles of artists. The opening track of Crazy Clown Time features Karen O of The Yeah Yeah Yeahs—a huge “get” in 2011. Another beloved 2010s indie star, Lykke Li, would feature on Lynch’s next album, 2013’s The Big Dream.

Musicians sought out David Lynch as a guest artist and producer—he would collaborate with the likes of Flying Lotus and Donovan before his passing. This speaks to the fact that, despite Lynch barely singing on “I’m Waiting Here,” you can tell it’s a David Lynch song. Although he often collaborated with other producers (like Angelo Badalamenti), Lynch’s music has a sound.

From “In Heaven” all the way to “I’m Waiting Here,” there’s a through-line. Lynch’s music sounds simultaneously dreamy and haunting. It feels like it floats, yet it unmistakably pushes forward in what almost feels like a nebulous loop. You could describe Lynch’s films the exact same way—which is precisely what makes Lynch so remarkable.

All of Lynch’s work was in conversation with each other, all part of one large exploration. And no matter what medium he worked in, David Lynch’s work was undeniably his own.