New York-based Sacred Bones records re-released the Eraserhead soundtrack today (8/7) on vinyl. If you want a copy, however, you better act fast. The first pressing of the soundtrack sold so quickly the label pressed an extra 1,000 to meet demand.
The deluxe edition of the album includes a 16-page booklet, three 11″ x 11″ prints, a digital download and a limited-edition Peter Ivers vinyl single of the Eraserhead track “In Heaven” plus another unreleased song.
Geek spoke with Sacred Bones label owner (and huge David Lynch fan) Caleb Braaten about the reissue. Braaten calls Lynch a huge influence on his label and started sending Lynch his label’s records. Lynch apparently liked what he heard and remixed a Zola Jesus song for a vinyl single previous to agreeing to reissue Eraserhead on Sacred Bones.
Geek: How did you first fall in love with David Lynch’s films?
Caleb Braaten: The first time I really remember falling in love with Lynch’s films was with Blue Velvet. In high school my friends and I would get together to watch movies and we have watched this videotape a dozen times or more. Frank Booth was the most over-the-top monster. He surpassed scary and became a folk hero. So quotable. Truly one of the greatest movie villains of all time.
I think that Twin Peaks may have been the ultimate though. I worked at a movie theater right out of high school and we had a video projector that we would hook up to a VCR. Every week after the last movie got out a big group of us would congregate, grab a bottle and watch a couple episodes of Twin Peaks on the big screen. There was so much more story and so many more characters to fall in love with in the TV format. You could really obsess over the details of each character. It belongs to a very short list of truly important television. It really shows what can be done with that format.
You’ve stated that much of the Sacred Bones aesthetic stems from Lynch. Can
you talk about why he’s been such an influence on you?
I think David Lynch more than anyone else understands the power of mystery, and that darkness doesn’t always live in the shadows.
What prompted you to start sending Lynch copies of the albums you put out?
As previously stated, I’ve always attributed Lynch as one of the major influences on the label. I thought at the very least he might think what we are doing is interesting, and his opinion matters to me.
Did you freak out when he contacted you?
He didn’t exactly contact me, but when he responded favorably to my inquiry I kinda freaked out, yeah.
Do you own any previous copies of the Eraserhead soundtrack?
Oh yeah, I’ve had the IRS pressing for years. I love the soundtrack very much. I’ve always thought it was a bit overlooked in the history of experimental and early industrial music.
How did you settle on reissuing Eraserhead?
I figured since it was the beginning of his career it seemed like a good place to start.
The deluxe package includes a single with an unreleased Peter Ivers track.
How’d you guys get your hands on that?
I am a huge Peter Ivers fan as well. The book In Heaven Everything is Fine by Josh Adams really blew me away. I was a fan of his from this song, and from New Wave Theater. But I had no idea what a special man he was until reading this book. So when we were brainstorming ideas for the bonus 7″ we really wanted to include something of Peter’s. The great Dean Hurley (David’s music supervisor) found it when searching the master tape. We were searching for something special and there it was. It was a true stroke of fate.