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Floating Into the Night

Best New Reissue

By Sam Sodomsky

Pop/R&B

Sacred Bones

August 9, 2023

When she was in high school in Creston, Iowa, Julee Cruise was a popular girl with a host of deep-rooted suburban fears—boys, cars, getting sucked down the bathtub drain—and a secret pastime that even those closest to her never knew about: making prank phone calls. “I’d call people if I was angry at someone and wanted to scare them. Or I’d call and not say anything at all,” she reflected in a 1990 interview. “There’s something kinda voyeuristic about doing something like that.”

Eventually, Cruise made contact with the world. First in Blue Velvet and most prominently throughout Twin Peaks , she sang the eerie, beautiful songs that reached from the screen and pulled you inside David Lynch ’s mind, giving voice to the complex web of emotions that kept his characters suspended in time. Her debut record, 1989’s Floating Into the Night , is the latest from the Lynch universe to receive a welcome vinyl reissue from Brooklyn label Sacred Bones. And while the lyrics were written by Lynch with music composed by his right-hand-man Angelo Badalamenti , and most of the songs will forever be associated with his work, Cruise’s album stands proudly on its own.

Over the past three decades, Floating Into the Night has remained one of the benchmarks that all dream-pop artists are measured against. It set the standard for several reasons. One, of course, is that its songs were paired with some of the most unforgettable, vividly rendered dream sequences ever caught on camera: from the foggy, rainy vistas of Twin Peaks to its dusky barrooms, sepia-toned living rooms, and demonic purgatories. If you have any relationship to the images these songs accompanied, then just hearing the opening baritone-guitar pulses of “Falling” or the wheezing gramophone band of “Floating” can elicit an intense rush of emotions.

Even stripped of this context, Floating Into the Night captured something important about dreams that plenty of other artists in the genre have ignored. Like most dream-pop records, it has the ability to wash over you, misty and serene, with a late-’80s synth gloss that made one of Cruise’s friends dismiss it as “white wine Muzak.” But Cruise and her collaborators also had the ability to shake you awake, to twist an image that should be pretty into something broken and grotesque. There are obvious examples: the nightmarish orchestral stabs that interrupt the whispered revery of “Into the Night,” the hellish fade-in crescendo of “I Remember,” or the disorienting drone and piano solo in “I Float Alone.” Lynch and Badalamenti shared a penchant for long, simmering builds and sudden cuts, dives into sentimentality harshened by pure horror. Their music together accomplishes a similar effect, never allowing you to feel fully at ease.

Cruise was a natural collaborator, able to skate along gracefully without stumbling around these turns. It’s hard to think of another singer who could find so much space and resonance in words like “dark” or “alone,” and by subduing her musical-theater belt into a curling wisp of smoke, her mezzo-soprano takes on a haunted, slow-motion quality: If you close your eyes, you can almost see each word forming as she sings them before dissolving into blackness.

The initial inspiration for “Mysteries of Love,” Cruise’s first collaboration with Lynch and Badalamenti, was This Mortal Coil ’s “Song to the Siren,” and you can hear what they admired in the recording: its sparse alien landscape, and the sense of longing in Elizabeth Fraser ’s crystal-clear voice cutting through the mix. But they quickly evolved into their own sound, evoking a less heavenly tableau with more smoke in the air. Within this setting, Cruise favored a hushed delivery in layers and layers of multi-tracked harmony and unison vocals, like Christmas carols by ghostly choirs on deserted streets. (“This will be a very expensive tour because Julee will have to hire nine backup singers,” Lynch jokes in a priceless clip from the recording sessions.)

Both Cruise and Lynch spoke of America in the 1950s as an enduring influence, and the songwriting spans aspirational jazz standards like “The World Spins”—a recording that, no matter how you listen, seem to play on a format that must be handled gently so as not to shatter—to early rock’n’roll throwbacks like “Rockin’ Back Inside My Heart.” In the latter, Cruise remembered Lynch instructing the sax player to conjure “big chunks of plastic” from his instrument, suggesting the visceral, physical thrill they still found in music from this era.

Even with these specific reference points, there is no true precedent for Floating Into the Night , and its greatest asset remains its timelessness. Describing her inspiration, Cruise pinpointed the feeling of paranoia that accompanies any surge of joy or new love. “There’s always that voice that says, ‘It’s going to go away,’” she explained. “That voice can be very disturbing and destructive, and that voice is talking all through the album.” If Lynch’s work remains a confounding acquired taste for some, then Floating Into the Night is a record that anyone can at least understand . It is the sound of a burgeoning crush accompanied by the quickening realization of their power to hurt you; it is your hometown at night, with a familiar stillness so quiet it can keep you awake; it is the voice on the other line, distant and mysterious, but close enough so you can hear every breath.

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Forgotten Classic: Julee Cruise ‘Floating Into The Night’

Despite the Korean war, the Suez crisis, and the Cuban revolution, the 1950s is often remembered as America’s age of innocence. Thanks to a growing middle class and a consumerist boom many citizens of the United States felt a sense of security in their socially conservative society, threatened only by the steady eastern breeze of communism. Rock ’n roll had broken into mainstream media, and, with it, the romantic notions of teenage lust, love and rebellion that would come to define youth culture in the 20th century.

Although often contemporary in their setting, the films of David Lynch bask in the rose-tinted haze of sleepy small-town living. In his alternate universe, time seems to fold in on itself, collapsing the years onto one another until an eerie temporal disorientation is achieved. But it’s not simply innocence that Lynch is interested in – rather the corruption of it, his work pitting clean-cut characters against a world filled with misery and perversion; blurring the lines until morality becomes terrifyingly hard to discern.

Read: The Story of Aretha Franklin ‘I Never Loved A Man The Way I Love You’ and ‘Lady Soul’

If you know the imagery of Lynch, you know the sound of Julee Cruise. Alongside the instrumental work of Angelo Badalamenti, her voice has been a cornerstone of the filmmaker’s soundscape since lending its ethereal tone to ‘Mysteries of Love’ – a song written to replace This Mortal Coil’s ‘Song to the Siren’ in Lynch’s 1986 suburban nightmare, Blue Velvet . Taking a prominent place in the film’s final scenes, the dreamy composition earned a cult following and struck on a near-perfect symbiosis of image and sound.

Iowa-born Cruise had met Italian-American composer Badalamenti in a Broadway theatre workshop, both being veterans of performance and having helped stage a Janis Joplin revue together. Badalamenti had previously soundtracked films such as Gordon’s War and Law And Disorder in the 1970s and received little acclaim, but in 1986 an opportunity arose when he was hired by Lynch as a vocal coach to Blue Velvet ’s seductive star Isabella Rossellini. Throughout production Cruise’s talent became an essential part of the director and composer’s nascent mythology that would later reach its zenith on the cult TV series, Twin Peaks .

Sensing they were onto something special, the trio combined forces to help create polymath Cruise’s first full-length musical release. Lynch, who claimed to have “$700,000 in the bank” following Blue Velvet, hoped to creatively shape the album by contributing his lyrics and ideas. As Cruise recalls, his direction was a necessary influence: “When David came into the studio it made a big difference. It was really a great team because Angelo and I are so malleable and so good at being chameleons.” Lynch’s lyrical style drew on the romantic, lonely, and slightly surreal atmosphere he had honed on his recent masterpiece – often dwelling on themes of abandonment and lust leading naïvety astray.

Read: The Story of Sade ‘Stronger Than Pride’

Album opener ‘Floating’ benefits particularly from the unique strengths of each contributor. Cruise’s somnambulant croon is a siren call, obscured by an impenetrable mist that only heightens her ethereality, whilst Lynch’s fatalistic lyrics toy with the well worn cliché of love as a burning, mesmerising flame. Meanwhile, the phantasmagoria of Badalamenti’s music takes the listener into the heart of the Overlook ballroom, evoking a sense of faded revelry that would later become a hallmark of his lounge jazz compositions such as ‘Audrey’s Dance’ and ‘Dance of the Dream Man’. The overall effect is arresting, tapping into a nostalgia for a time that, for many of us, is completely unknowable.

Floating Into The Night ’s most popular song, ‘Falling’, would be the gateway to Lynch’s next major project. Badalamenti had created the melodramatic musical sequence that would become the Twin Peaks title theme in response to the directors prompt of a young girl alone in the woods at night. In its album incarnation (released before the show) Cruise’s voice blends seamlessly with the synthetic bliss of Badalamenti’s composition, embodying the sweet vulnerability of teenage bewilderment. After its Grammy-winning instrumental became an iconic introduction to the show in 1990, the singer’s original became an unexpected global success, charting in fourteen countries worldwide, including Australia, where it peaked at number one in April 1991.

For better or worse, Twin Peaks would come to define the legacy of Floating Into The Night and the future of Cruise’s professional life. She appeared in the surreal soap-opera herself several times as a musical guest at the town’s smokey nightspot, The Roadhouse, and subsequently became a cult figure for diehard fans of the show (which was cancelled after just two seasons). Cruise has since held a complicated relationship with its legacy, grateful for the continued fanaticism of its audience yet wary of the pressures Twin Peaks has placed on her: “I don’t want that responsibility”. But despite the overbearing influence of Lynch and Badalamenti on her initial two album run, Floating Into The Night is undoubtedly Cruise’s shining moment. A captivating and evocative vocal talent, she imbues its leading role with the beguiling quality that makes the trio’s work so incredibly singular.

Read: Modern Classic: Julianna Barwick ‘The Magic Place’

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Julee Cruise ’s 1989 album Floating Into the Night is a hauntingly beautiful, critically ac-claimed work that showcases her unique vocal style and the atmospheric, dreamlike music of composer Angelo Badalamenti . The album was produced by Badalamenti and David Lynch , who had previously worked together on the soundtrack for Lynch’s film Blue Velvet . Today in the wake of both Julee Cruise and Angelo Badalamenti’s passing its important to honor their musical legacy and contribution to both the sonic and cinematic landscapes. 

Release Date: 8/11/2023

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Julee Cruise|Floating Into The Night

Floating Into The Night

Julee Cruise

• Released on 1/1/70 by 143 - Warner Records
• Main artists: Julee Cruise
• Distinctions: The Qobuz Essential Discography

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Hardcore David Lynch fans knew the album cut "Mysteries of Love" thanks to its appearance in the middle of Blue Velvet but otherwise, Julee Cruise and her singing abilities were total unknowns when Floating into the Night surfaced in 1990. When Twin Peaks took off, however, the album became more or less its unofficial soundtrack thanks to the instrumental adaptation of "Falling" that served as the theme song. Other cuts, like the haunting, moody "Into the Night," and "Rockin' Back Inside My Heart" turned up on the show as well; but as a beautiful, mysterious stand-alone effort, Floating is still that best of surprises, a left-field hit that loses nothing thanks to its fame. The combination of Cruise's sweet, light tones, Lynch's surprisingly affecting lyrics, which play just enough with clichés so as not to seem willfully ironic, and Angelo Badalamenti's combination of retro styles and modern ambience, is a winner throughout. The feeling is one of a '50s jukebox suddenly plunged into a time warp, dressed with extra sparkle and with a just-sleepy-enough, narcotic feeling. At its most upfront, the music can get downright raunchy -- check out the big band/sax blasts on the strutting tearjerker "Rockin' Back Inside My Heart," or the sudden orchestral blast three minutes into "Into the Night." Cruise herself has a wonderfully slow, burning passion that surfaces as well, such as in her whispers on "Floating." But mostly everything is just sedate enough, crystalline rockabilly guitar playing gentle riffs with a slow slinkiness, Cruise's multi-tracked backing vocals and more combining beautifully. "Falling" remains the most well-known number, and a winner it is, too; Badalamenti's synth orchestrations are so affecting that Moby ended up sampling them for "Go," kickstarting his own career. But songs like the just-spooky-enough "The World Spins," and "The Nightingale," with a great performance all around, ensure Floating's success as a through-and-through listen. © Ned Raggett /TiVo

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Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Piano, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

© 2006 Warner Records Inc. ℗ 1989 Warner Records Inc.

Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, Vocals, MainArtist - Albert Regni, Clarinet, Tenor Saxophone - Angelo Badalamenti, Composer, Piano, Writer, Synthesizer - Art Pohlemus, Engineer - David Lynch, Composer, Lyricist, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Piano, Synthesizer - Badalamenti, Writer - David Lynch, Producer, Writer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

Eddie Dixon, Electric Guitar - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Piano, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar - Tim Leitner, Mixer

Eddie Dixon, Electric Guitar - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Composer, Piano, Writer, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Composer, Producer, Writer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar - Tim Leitner, Mixer

Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, Vocals, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Synthesizer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

Eddie Dixon, Electric Guitar - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Producer, Piano, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar - Tim Leitner, Mixer

Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, Vocals, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Piano, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

Eddie Dixon, Electric Guitar - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Composer, Piano, Synthesizer - Art Pohlemus, Engineer - David Lynch, Lyricist, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar - Tim Leitner, Mixer

Album review

About the album.

• 1 disc(s) - 10 track(s)
• Total length: 00:47:04
• Composer: Various Composers
• Label: 143 - Warner Records
• Genre: Pop/Rock Pop

© 2006 Warner Records Inc. ℗ 2006 Warner Records Inc.

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