If you are the sort of person who enjoys the invariably strange and reliably disturbing films of David Lynch, there’s a good chance you’ll also be on the right wavelength to appreciate the oddball musical offerings of steampunk troubadour and ‘antifolk’ pioneer Thomas Truax. Now the weird worlds of these two quirky-minded artistes collide with Truax’s latest release, an album of covers featuring songs from Lynch’s films.

Known for his compellingly madcap live acts - which employ a miscellany of home-made instruments - including a mechanical drum machine known as The Mother Superior, and The Hornicator (a mysterious converted Gramophone horn) - Truax has earned himself a well-deserved cult following over the past decade or so. With such credentials, he is clearly the natural inheritor of the Lynch songbook, bringing his own brand of bizarre to what is already a sinister selection.

Starting with perhaps the most recognisably Lynchian tune, Wicked Game (originally recorded by Chris Isaak and featured in 1990‘s Wild at Heart), the first half of the album gives a refreshingly deconstructed, though fairly conventional treatment to these soundtrack classics. Truax’s love of vintage rock n’ roll shines through with his use of rockabilly style distorted steel guitar and husky Johnny Cash-esque vocals. If you listen carefully you can also pick out a whole range of wacky percussion instruments - including a jaws harp, music box, xylophone, sampled bats (yes, really), wobbleboard, and of course the famous Mother Superior.

It’s not until track 6, Audrey’s Dance (an instrumental from Twin Peaks), that the true freakish nature of the beast is revealed, however. Eerily hypnotic chromatic scales accompanied by an assortment of jangly, tinkling, unidentified groaning noises, lure the listener firmly into a dreamlike Lynchian world. This gloriously unhinged state of affairs continues through the next few tracks - climaxing with the deeply disturbing In Heaven (The Lady in the Radiator Song) from Eraserhead - before returning to some semblance of sanity with a more straightforward, and slightly less perturbing version of In Dreams (from Blue Velvet).

Hearing all these songs together like this makes me wonder why noone’s thought to record a Lynch soundtrack covers album before now - but let’s just be grateful that Thomas Truax got there first. An impressive collection, with some genuinely inspired interpretations, it’s sure to go down well with Lynch-lovers, Freakzone listeners and anyone with a penchant for the strange and surreal.