Clock Dva – Horology

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When Eraserhead premiered in 1977, it didn’t just mark the beginning of David Lynch’s singular career—it rewired the language of underground cinema. A nightmarish journey through industrial decay, existential dread, and fractured identity, the film remains one of the most haunting works ever committed to celluloid. Shot in stark black and white, Eraserhead unfolds like a fever dream—where sound, space, and emotion bleed into one another in an uncanny, hypnotic dance. But what truly sets Eraserhead apart, even beyond its disquieting visuals, is its sound. David Lynch, working closely with sound designer and technician Alan Splet, constructed an aural landscape as vital and disturbing as any of the film’s images. The soundtrack is not built around traditional music, but rather an evolving tapestry of ambient industrial noise: distant hums, howling winds, metallic drones, mechanical grinding, and eerie silences that stretch time to its breaking point. Splet and Lynch manipulated everyday sounds—recording radiators, engines, air currents—to create a dense sonic fog that reflects the inner turbulence of the protagonist, Henry Spencer, and the collapsing world around him.