Laura Palmer's Theme (Instrumental) (track)
by Angelo Badalamenti
Year: 1990
From the album Soundtrack From Twin Peaks (track #2)
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Laura Palmer's Theme (Instrumental) appears on the following album(s) by Angelo Badalamenti:
- Soundtrack From Twin Peaks (track #2) (this album) (1990)
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Laura Palmer's Theme (Instrumental) ratings
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Showing latest 3 ratings for this track. | Show all 74 ratings for this track.
| Rating | Date updated | Member | Track ratings | Avg. track rating |
|---|---|---|---|---|
| ! | 08/04/2026 05:12 | Leginlists | 615 | 84/100 |
| ! | 05/17/2026 15:36 | libbyshuss | 963 | 78/100 |
| ! | 12/02/2025 16:04 |  LukasAntoine00s | 5,272 | 80/100 |
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This track is rated in the top 1% of all tracks on BestEverAlbums.com. This track has a Bayesian average rating of 89.4/100, a mean average of 90.0/100, and a trimmed mean (excluding outliers) of 91.3/100. The standard deviation for this track is 11.9.
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I guess David Lynch adore Roxy music Avalon .The synteziser is
is like a dream on both albums and is exaktely the same on some tracks .Good taste David and Angelo
Onater 08/20/2017 08:08 | #196378
The Cm->C->E->Fm9->C->Am->F#11->Cm is probably the most emotional a simple chord progression has ever made me. So many different emotions in the span of a minute. The droning C minor section is dark and ominous, then the unexpected switch to C major brings in some hope that seemed absent before. The switch to E Lydian adds a sense of mystery and almost reverence and The F minor adds in a desolate mournfulness to the mix. After that comes the important part, possibly the most powerful chord change I have ever heard, into the C major, which is just full of beauty, as the melody sweeps above and drops below before returning and the chord switches down to A minor as the melody repeats itself but over the different chord it is so much sadder, filled with sorrow and loss, then the melody drops down into the #11 of the F major, resolving the sadness of the A minor with a kind of acceptance that still holds all the sorrow deeper beneath it. It then lingers on that before returning to the C minor where it began, bringing back that ominousness, giving the sense that, even with all that has happened, there is still more that must be done. I don't know if any of this makes sense, it probably doesn't, but this song is absolutely genius.
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