Guess it was only a matter of time before the brain behind oxygen-sniffing sociopath Frank Booth, painting with ants, and professional furniture crafting made some (more) music. David Lynch has released a deluxe vinyl edition of both Good Day Today and I Know, new albums which feature both original tracks as well as remixes by Underworld, Sasha, Jon Hopkins, and others. And the video is one of the strangest and most haunting you’ll ever see.

Straying from the subwoofers and flickering halogen bulbs of his soundtracks, Lynch seems to have taken a cue from longtime accomplice/composer Angelo Badalamenti and actually gone melodic on us. The video is as trippy as the song, and Lynch fans wouldn’t expect anything less.

Straying from the subwoofers and flickering halogen bulbs of his soundtracks, Lynch seems to have taken a cue from longtime accomplice/composer Angelo Badalamenti and actually gone melodic on us. Both Good Day and I Know are surprisingly hip and DJ-friendly — perhaps the only question is, will stuff like this turn off longtime fans?

Despite its kinda-commercial electronica vibes, this is ambient, haunting stuff, and often as strange as his movies. Some of it is even almost…danceable. It will strike a familiar chord with fans of the remix artists, especially Underworld. Surprisingly, the official video for “Good Day” was directed by Arnold de Parscau, the winner of  the official video contest. Memories of Lynch’s last lackluster musical collaboration, Blue Bob, are thankfully long gone.

But it’s safe to say, the surreality that is Lynch molds well with modern, ProTools-addled editing. “Good Day Today” begins with the crackle of thunder, jarring and electric like his films’ sounds — before it segues into a collage of industrial and ambient sounds, the closest to This Mortal Coil’s “Song of the Siren” in Lost Highway and the love ballad of Jeffrey and Sandy in Blue Velvet.

But it’s safe to say, the surreality that is Lynch molds well with modern electronica. “Good Day Today” begins with the crackle of thunder, jarring and electric like his films’ sounds — before it segues into a collage of industrial and ambient sounds, the closest to This Mortal Coil’s “Song of the Siren” in Lost Highway and the love ballad of Jeffrey and Sandy in Blue Velvet.

As the crowd gathers on the dock, the excitement is palpable.  A diminutive dance music pixie pogos around with her newly adorned wristband held high in the air while a group of British friends smile their approval.  This does not feel like the normal cueing up to enter a party vibe.  When everyone in attendance is a VIP, there is no struggle toward the front of the line.

We were given the opportunity to blow the minds of three of our readers when we included them as guests to one of the most exclusive parties ever.  And from the looks on their faces we were successful in that endeavor!

The deck of the Yacht is outfitted with a massive club-sized sound system and the artists’ rig is tucked into a corner of the massive dance floor.
There is no stage at this party.  Everyone is participating in their own way, some dancing, some playing music, some passing around a disco ball in
the middle of the crowd.  The dining room is serving prime rib and the captain is high-five-ing party goers.

An opening set by the awesome and irreverent Tommy Sunshine includes a personal favorite – Hall and Oates – remix, the dance floor is packed as we set sail.  Sasha and John take the reins next easing us into an ever-building music journey as the yacht powers through the canals of Miami
Beach, under several draw bridges and past some of the most ornate mansions in America.  As Sasha and John trade off on the decks, the sun begins to set, offering the best mood lighting we could hope for.  During several crescendos in the music there are hundreds of hands uplifted in the air as if to absorb as much of the music as possible.

As the yacht heads back to dock you can see from the smiles on the faces of our maestros that they too are having the time of their lives.  Like all
things this party must come to an end.  But we have excellent news – in anticipation of this article, Sasha and John’s entire set was recorded and
Mr. Digweed himself has designed an *exclusive* hour-long long live mix for all of us to enjoy.  When you listen, close your eyes, imagine an 85 degree breeze blowing over the railing of the Lady Windridge  and as the sun begins to set you can almost hear that group of beautiful girls next to you giggle in a state of absolute glee at their fortunate fate.  As our editor in chief said to me while leaning on the railing watching the sun set, “life is good my friend”.  Yes, it sure  is!

Congratulations to our lucky readers who joined us on this epic journey: Tammy Black, Monique Hauscheer and Ana Prieto. Maybe next year it could be your smiling face in these photos!

Feel free to pass this link to anyone you know who might want to hear this exclusive mix from Sasha and John Digweed Live from the Lady Windrige Yacht in Miami, FL USA 3/26/10.

Words by Mark Roemer, photos by Angel Tagudin, extra photos provided by John Digweed.

Miami’s like a ghost town, populated by a handful of zombified veterans, delaying re-entry as long as possible. Tales of old conferences have been told; reasons to return discussed. And good-byes, some with an air of possible finality, were exchanged.

But so were reasons to return, like the boat party, Sunday School and John Digweed’s throw-down at the Vagabond. At least in Digweed’s case, that has as much to do with the club as it does the DJ.

What many people don’t know is that John has been promoting events since he was a teenager and understands probably better than anyone the impact of a friendly door, affordable prices, a comfortable patio and a world-class sound system. Joining forces with the people behind Groove Jet, the legendary 90s’ beach venue that Danny Tenaglia has called the most magical club ever, he and his partners set about creating the best club in Miami. Free from the pressures of the beach’s club power structure, they found a space in an area downtown resistant to gentrification, and crafted a club from the fan’s perspective.

They did such a good job that it was, in the words of a first-timer Saturday night, like stumbling onto an oasis after days on the South Beach diet. John beamed his way through a six and a half hour set, looking happier even than two Wednesday’s ago at the Mayan. He hit full throttle around three a.m., and then spent the next three hours escalating the intensity until, as the sun was coming up, he whipped through a closing set of classic house music. It was an only-in-Miami moment, and sounded so good that I’m already thinking about where to stay next year.

By Neil Feineman

The Sasha and John Digweed boat party may have upheld an annual tradition but tweaked another. In the past, the party was on a Friday, the night after they played at the Mansion. This year, you had about two hours to get from the boat to the South Beach super club, and the process was jarring.

It wasn’t just the time it took to shower, go from short pants to long pants and go from being among friends to battling several thousand clubbers, all fighting to squeeze onto the sidewalk and get in one of the seemingly endless lines that would get you into the club.

Once in, the space was overwhelming, a spectacle of light and sound, packed as if to defy movement. After some getting used to, however, the music, darker and more seductive than their set on the boat, worked its magic. By then, you also were able to make out familiar faces and find pockets of space to move around.

Perhaps because the day had been so long, I don’t have a clear sense of the quality of the set, other than that it always hit a groove, that the hours flew by at a rapid clip and, at the end, when the crowd was at a fever pitch, Busta Rhymes made his way into the DJ booth, trying to get Sasha to play his unfinished new track. It was one of those incredible faux paus that can only happen in Miami. Needless to say, the track remained unplayed, yet still became the punchline to this year’s gig.

In other news, friends had great times on the Desyn Masiello/Sander Kleinenberg boat party and at Richie Hawtin’s big Minus party. Although the party went on into the day, he played until about seven, and hit the minimal tip like only he can. I didn’t have a complaint in the world about the way the day went down except one: my failure to, no matter how hard I try, be in three places at once.

Words by Neil Feineman

Not that the details can hurt. Imagine a yacht, the kind where polite people welcome you to the party as if they were happy to see you. Then glance around the deck and see people like Dj Dan, Hernan Cattaneo, John Graham, Nick Warren hanging out, catching up on things. Eating a prime rib dinner, making as many trips to the open bar as you wanted. Oh, and sailing across Miami with a bunch of your favorite people, who you haven’t seen since the last party, while Sasha and John play the perfect, sexy “backyard” set of the year. Throw a circle of good energy around the enterprise and it’s suddenly like maybe there really is a reason to believe in Santa Claus. Because this party, if you are lucky enough to be there, is the ultimate gift.

Even more to the point, it is probably the last of the Miami traditions left standing. The Masters at Work Party, Danny at Space, all are barely memories now. But the boat party, which began back in the days before the dot com boom had burst, is alive and well. And, for me, it’s still the real reason to make the trek to Miami.

Words by Neil Feineman, Photos by Jipsy

Photos by Jipsy for Nefariousgirl.com