In his directorial works for Twin Peaks, David Lynch demonstrates a unique approach to film sound, whose status and function are often difficult to determine from a narratological perspective. In many situations, the sound becomes an indicator of the supernatural, breaks with the conventions of TV and cinema, or takes on leitmotif functions. Especially the strange acoustic elements can reveal the parallelism and opposition of the various narrative levels and mark interfaces between worlds. A closer examination of Twin Peaks’ sound offers the opportunity to develop an understanding of some of Lynch’s narrative techniques, which may remain hidden with a stronger focus on the visual.