Annie Mac’s Twin Peaks rescore is a masterpiece

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A majestic, red breasted robin perches tentatively on a branch, city smog billows from small town factory chimneys, the gears of industry churn as the words ‘Twin Peaks’ appear in moss green to that most iconic of themes; Toddla T’s Acid. Some might call it sycophantic given the curator’s relationship to the artist but, when you peel back the layers and really think about it, what other piece of music could possibly lend itself to the title sequence of David Lynch’s classic surrealist television serial?

How could my eyes not stay glued to the screen as the bass fades and murmurs and the heavy glow of Shlomo’s bass weight Out of Hand kicks in and the people of Twin Peaks make a shocking discovery. Never before has the marriage of dubstep and mystery been so perfectly realised. Was it not but a few weeks ago I was revelling and joyously extolling over the unerring judgement of MistaJam’s now classic reinterpretation of Paul Thomas Anderson’s There Will Be Blood? I really thought it couldn’t be bettered, well, I was wrong – heck, everyone was wrong.

No-one saw this coming, this splendour, this bold improvement on what some close minded ‘film buffs’ have called ‘a masterclass in audio visual acuity.’ Now, I’m not one for spoilers but the moment when Disclosure’s 2012 classic Voices washes over the backwards talking dwarf is sheer genius, an alliance of truth and beauty, a blue sky and a Waitrose smoked salmon, cream cheese sandwich. This is all I have ever wanted, I used to think it would be enough to just be able to watch Twin Peaks but much like that time I reach operating thetan level 4 I now realise that sometimes there’s more to life than meets the eye.

All that’s left to do now is to sit and wait, breath bated as I yearn for next week’s installment of Radio 1 Rescores. I hear Charlie Sloth’s taking on John Carpenter’s classic monster movie The Thing and I am literally shitting myself in anticipation.

Fuck you Zane Lowe. Fuck you very much indeed.