I get why someone might not love Eraserhead: it is largely without dialogue or plot and it costars an embalmed cow fetus. I can even concede that Eraserhead may not be David Lynch’s “best” movie, as his thematic and formal skillset came into greater focus in the following decade, and he somehow looped back and got more experimental around the turn of the millennium. But Eraserhead is one of those out-of-the-gates works—like, I dunno, Dubliners, or Illmatic—that perfectly crystallizes everything an artist would go on to do. In Lynch’s case it was this: the direct fusion of ambient sound design with horror filmmaking. …