David Lynch's universe is both peculiar and vast.
And on this, the second night of musical tributes to the director at Home, we got to witness the 'Lynchian' though the prism of three very different musical artists.
Fellow Texan and a constant throughout the three nights, Chrysta Bell, who is a long-time collaborator of Lynch's, did everything to live up to the director's own billing as a 'sexy alien' who compels you to inhabit her dream-like world.
Rocking a 50s-style faux-fur trimmed pencil outfit she took to the stage to deliver her cryptic introduction in darkness save for the dreamy disco-ball lighting which would be familiar to anyone who has seen Mulholland Drive or Twin Peaks.
Mancunian Dom Thomas's concept band Whyte Horses were perhaps the least suited to the darkly-lit shroud of dry ice that enveloped the stage all night.
But his optimistic and almost child-like, psychedelic pop always carries a trace of nostalgic unease, and according to Dom, laterly finds much of its inspiration from watching Twin Peaks
The French Ye-Ye girl sound, delivered by the band's three vocalists in tracks from their excellent album Empty Word, was generally buoyant and breezy. Maybe that was why two Shakespearean-style jesters also staggered around the stage to add a suggestion of hallucinogenic menace.
So it was quite a dynamic upturn in harmonic range when Chrysta Bell returned to join the band for a fabulous cover of Sonny Cher's Bang Bang (My Baby Shot Me Down) set over some loping funk from the rhythm section.
Her resonant contralto voice, rendered with plenty of echo and reverb gave us a preview of her own set played over atmospheric Texan steel guitar.
As expected it was the nearest recognisable 'Lynchian' music of the night with a material such as The Devil Inside Me, from her album with John Parish We Dissolve as well as material from her collaborations with Lynch such as the dark Real Love and the dive-bar Noir of Swing With Me .
These New Puritans offered a set which showed why their music occupies the same 'uncanny' or uneasy space as Lynch's films.
Yet there is something particularly English about their moody, austere landscapes.
And, like Whyte Horses, their music pervades a Romantic sense of melancholy albeit powered by washes of synth and pounding electronic drums. It's like David Sylvian got possessed by a Techno demon.
Acoustic double bass, sometimes often bowed, and reeds, added essential textures to their sound while vibraphone gave it that John Carpenter-esque ostinato.
Again, apart from an instrumental number in which lead singer Jack Barnett also took to the drums and which seemed pulled straight from the Twin Peaks Roadhouse, it was pretty much business as usual for the band.
They took material from their latest record Inside the Rose but ended the set with two pieces from their second Hidden.
A diverse night of music that showed we are all living in a Lynchian world whether we know it or not.
