Posted in Sunday Songs

Sunday Songs: 5/28/23

Happy Sunday, bibliophiles! I hope this week has treated you well. 🫶🏻

This is gonna be a fun one. By coincidence, the fault lines of Palehound Panic™️ and my recently reawakened Blur Breakdown™️ have collided in the span of a week. Let’s hope the results won’t be cataclysmic.

Enjoy this week’s songs!


“Black Friday” – Palehound

I’ve finally finished my quest to catch up on Palehound (the albums, at least) before Eye on the Bat. Over the past week or so, Black Friday has been in heavy rotation—it feels like El Kempner’s most cohesive and lyrically strong album, and it might just be my favorite of theirs so far. It was a feat to pick just one song from this album—“Worthy,” “Aaron,” and “Killer” were all strong contenders (GO LISTEN THEY’RE ALL SO GOOD)—but the title track, “Black Friday,” stuck out to me in so many ways.

Palehound often leaves the introspection for a handful of songs at the end of each album, but the personal threads run deep throughout the entirety of Black Friday. This song in particular hits a particularly emotional note—it’s a continued story of catching up with old friends, all the while having a nagging feeling that they don’t care about you now, and that they never cared much about you before, either. Yet somehow, you still feel tied to them by some kind of desperate obligation, a lingering thought that maybe things can change, but knowing they won’t; Kempner sings that “I’ll take being the last one that you call/You’re Black Friday and I’m going to the mall.” The chorus of “Before you said we’d keep in touch/I don’t hear from you too much/If you need to call me, I’m too weak to hold a grudge,” with Kempner’s layered harmonies, glitter like the edges of stars and ring out like a faint sound of a jet flying overhead. It was a song that felt like a punch in the stomach, all while I was just trying to give myself a nice manicure. Afterwards, I had to sit back for a minute…there will always be those songs that hit a little too close to home for comfort, and they always come when you least expect them to. But songs like “Black Friday” give a voice to the feelings that we think, in our darkest moments, are isolated only to only us. So thank you for that, El Kempner. Here’s to making friends with people who really do care, and not chasing after people who don’t.

“The Narcissist” – Blur

All is right in the universe. Nature is healing. We’ve got a new Blur album out in July…everything’s okay again…

…and this song is testing my ability to spell the word “narcissist.” I could’ve sworn that there was another ‘c’ in there somewhere…

I’ve got to hand it to Damon Albarn at this point—he’s having not one, but two of his projects (this and Gorillaz) releasing albums this year, and even if Cracker Island was a bit of a disappointment, the sheer creativity and talent is all there regardless. Knowing that the forthcoming The Ballad of Darren was a spur-of-the-moment kind of reunion makes it all the more impressive—they didn’t plan on making another album in the first place, and then they come out with this?

That being said…I’m not sure if it’s Blur’s best, but it’s still a great song. I didn’t listen to it on repeat while cleaning out my closet last week for no reason. It’s such a catchy tune—the instrumentals are a little understated, but it’s clean, it’s smooth, and it’s proof that Blur have mastered the art of a polished Britpop tune. My only problem, as much as I’ll sing praises for Damon Albarn, is that there’s too much Damon Albarn. It’s not something that I’d ever picture myself saying, but we live in strange times. “The Narcissist,” delightful earworm that it is, feels more like a solo Damon Albarn effort than a Blur song. Even though we do get Graham Coxon’s backing vocals, I find myself missing his captivating, intricate riffs. You can hardly hear the presence of Alex James’ iconic basslines. And Dave Rowntree’s precise drumming is still there, but again: understated. I just want more Blur, less Damon Albarn.

All that is to say that, for once, the fact that we’re getting a whole new Blur album overshadows most of the nitpicks I have about “The Narcissist.” I have a feeling that I’m gonna enjoy Hot Blur Summer.

“I Need Some Fine Wine and You, You Need to Be Nicer” – The Cardigans

If I didn’t know any better, I would’ve thought this was a Giant Drag song—it’s got a very similar kind of bite. I’ve only listened to First Band on the Moon, but this song has me wondering what happened between that and their final record, Super Extra Gravity. I wouldn’t call it a sea change—it’s still got the pop sensibility that Nina Persson perfected to a science, but there’s an undeniable roughness to the song that pushes it more towards the edges. Persson’s voice, although it retains her signature, dainty tone, curls into a rasp as the song begins with half-spoken dog commands—”Sit/good dog/stay/bad dog/down/roll over.” The rest of that song is as bitter as the intro suggests, singing of a relationship gone sour, dulled by alcohol and fleeting visions of lost love. The Cardigans have toyed with these kinds of songs, but this one really makes the feel come through—it’s still a pop song through and through, but the sharpening of the guitars on this one make the image really come to life. “I Need Some Fine Wine” is, in short, Nina Persson’s hairdo in most of the video—it coexists as the neatly braided crown and the spiky hairs coming out all at once.

“Sinnerman” – Nina Simone

Full disclosure: I hoard reaction images. Too many. But even a refined reaction image connoisseur such as myself knows that some images are only suited for very specific, sacred times. You can’t go about wasting them willy-nilly, even if they are just…well, sitting on your phone. It’s not every day that something can evoke the feeling contained in this image, for instance:

But that’s how “Sinnerman” feels. All the way through.

Every TV show and film that this song has been featured in has cut it tragically short; and no, I don’t mean to call Gerard Way and Taika Waititi cowards, because they clearly aren’t, but also…if you’re going to include this song in anything, you have to go the whole mile—the 10:19 mile, to be exact. And if there’s any song that commands the listener to sprint through its entire length, it’s this one.

I can take longer songs, but there’s a specific art to crafting them: for me, if a song goes past the 6 or 7 minute mark, there has to be something that keeps me listening—that applies to any song, technically, but if you have that long of a song that mostly consists of repetition, you’ve started to lose me (lookin’ at you, LCD Soundsystem…you can pull it off sometimes…). Oingo Boingo’s sprawling, nearly 16 minute long swan song “Change,” for instance, has plenty of recurring musical motifs, but it keeps you on your toes, whether that be with artfully-placed oddball instrumentation or bizarre samples. But there’s a way that long song repetition can be done—my favorite song of all time, in fact, does just that; Blur’s “Tender” has a somewhat tidier format, but they bypass the LCD Soundsystem syndrome not just with breaks for Graham Coxon’s bluesy riffs and choir, but by fueling it with nothing but Emotion with a capital E—”love’s the greatest thing,” after all.

“Sinnerman,” however, does both of those things—it’s essentially the mother of every epic, extensively long song that you can think of. Even knowing the years that Nina Simone was active, it still amazes me that this was released in 1965. I could almost understand it if it had been the late sixties, when everybody started to realized how freeing musical experimentation was. Simone’s musical career was defined by pushing against so many barriers, from her protest music to her incredible piano skills, but this song pushed the envelope in such a wildly different way. Through all 10+ minutes, there’s an energy that seems to live and breathe and never stop—even when the music begins to die down in favor of Simone’s piano and a chorus of clapping. It’s a song on a desperate mission, one that takes no prisoners and never stops to catch its breath. Even though the song is an amalgamation of scattered 50’s songs, gospel, African spirituals, and remnants from her own religious upbringing, it can be easily reduced to a single word, one that Simone famously belts out near the song’s climactic ending—”power.” I can’t think of many other songs that grab you by the shirt collar and keep you hanging there quite like this—nothing comes close to how propulsive Simone is, with how purely propulsive both her voice and her piano playing are. Again—take my word with a grain of salt, but this really is a masterpiece. And knowing that she used to end her live shows with this song…WHEW. What a song.

“Sea of Blood” – Palehound

Whether or not it was intentional, it’s fitting that this song shares space with a song called “YMCA Pool.” Two dubious bodies of liquid on one single.

With some songs that end up as singles after the released of an album, you’re left wanting—what could’ve changed if that track was on the album, as originally intended? (see: “Bicycle”) But some songs were made to be tiny, standalone packages, never leftovers for works past or teasers for what’s to come. “Sea of Blood” works exactly this way—it’s got the sprightly beats and guitar work of something circa Dry Food or even Bent Nail – EP, but there’s something about the short, snappy atmosphere of it that doesn’t confine it to any of Kempner’s previous works. It might fight the catchier, brighter side of Dry Food, but it doesn’t quite match the introspection. It’s got the experience that Bent Nail hadn’t fully achieved yet. And yet it still sounds like a home demo, but so fully realized—a neat drum machine accompanies Kempner’s signature rasp, sharp lyrics, and climbing guitar fingerings all come together in what has the sound quality just above an iPhone voice memo, but the polish that comes from nurturing a tune like this for a long time. And leave it to Palehound to name a song something like “Sea of Blood,” a title you’d expect to come with throat-burning, heavy metal screaming, but start off the song with a line as innocuous as “I’m every bit as fragile as a baby bird.” You sly dog, you…hound?

Since this post consists entirely of songs, consider all of them to be today’s song.

That’s it for this week’s Sunday Songs! Have a wonderful rest of your day, and take care of yourselves!

Posted in Uncategorized

Sunday Songs: 4/9/23

Happy Sunday, bibliophiles, and happy Easter for those celebrating! 🐣

I’m still riding the boygenius high, and I will most certainly be riding it for much longer (that is a threat), but I promise I’m listening to a few more songs…maybe…

Enjoy this week’s songs!


“Cool About It” – boygenius

Never in a million years would I have predicted having a song with banjo in it constantly on repeat, but life is full of surprises. All the better if said songs are delivered by the likes of boygenius.

I’ll surely be raving about boygenius’ recently released full-length debut the record for the next month, but this song, after their first four singles, is taking center stage in my head constantly. With a melody inspired by Simon & Garfunkel’s “The Boxer” and sparse, gentle instrumentation that lets each member of the supergroup bathe in the spotlight, it’s a quiet, introspective highlight. Julien Baker, Lucy Dacus, and Phoebe Bridgers take turns reflecting on the mixed emotions of painful, strained reunions with exes and old friends, hidden lyrics shine through in not-so-hidden lyricism—”I can walk you home and practice method acting/I’ll pretend that being with you doesn’t feel like drowning,” in Bridger’s final words. boygenius have let their joint talents meld together in a handful of different structures, but somehow, this neat, boxed-in sections where one singer takes the lead per verse make for a song that truly feels like all of them. And as gently as bubbling water in a creek, their harmonies rise as one for each chorus—my heart can’t help but leap a little when each of them harmonize to the final line of each verse: “even though we know it isn’t true…”

[fanning face] The power they have, I swear…

“You & I” – Graham Coxon

I’ve been meaning to get more into Graham Coxon’s solo work ever since my 2021 Blur frenzy, and through the nuggets of song titles that I seem to remember completely at random, I’m getting more and more excited about it. The only song of his that I know that isn’t a cover or from the soundtrack of The End of the F***ing World (which I still need to watch…), it’s an unadulterated dose of tight, anxious Britpop straight to the veins; even without Blur and all of the detriments that came with its fame, it’s clear that this is the kind of music that Coxon was meant to play. And he plays it well. Each punchy chord feels laid out on a precise grid, and from what I can gather about him, it seems like something he would do. “You & I” is a distinctly polished song—not in the way that an over-produced, Top 40 hit is, but polished in the way that every edge has been meticulously sanded down to perfection, not a note out of line. These nervous, uptight white guys know their stuff sometimes…

“Everybody Wants To Love You” – Japanese Breakfast

I’ve gotten bits and pieces of Japanese Breakfast over the years—I remember being in the car all the way back in middle school and hearing a piece of NPR about her debut album, Psychopomp, and being interested, but I don’t think I ever got around to listening to it then. With all the buzz around Jubilee and her acclaimed novel Crying in H-Mart, I figured I might get around to giving Michelle Zauner and company a listen. Like “You & I,” I remembered the title of this song at random, and I’m so glad I did!

“Everybody Wants To Love You” feels like the 2010’s, indie rock answer to a poppy love song of the 50’s or the 60’s. Everything about it feels cheery—the bright, practically glittering guitar tones, the sharp pep of Zauner’s voice, and the starry synths that seem to leave sparkling trails over every second of the song. Add a wonderfully catchy guitar riff and package it into the pop-standard 2 and a half minutes, and you’ve got something that feels like it could come out of any era. Well…maybe not any era—some of those lyrics definitely would not have flown in the mainstream before the 60’s, but that’s not the point. It’s just 2 and a half minutes of joy, purely and simply.

“A Quiet Life” – Teho Teardo & Blixa Bargeld

Over break, I went through the first season of Netflix’s Dark with my family, and ever since, I’ve ripped a solid half of the songs from that show and slapped them haphazardly into my music taste. Seems like that’s largely the case for a lot of the commenters on this video too (all of the Dark references have passed the vibe check with absolutely flying colors), and, among other things, Dark reminds me how good it feels to be so invested in every part of a show—not just the story itself, but every little detail that goes into it. Like the music.

I won’t go into how perfectly this song melds with the overall themes and the last episode of season 1 of Dark for fear of spoiling something so wonderfully intricate, but it’s chilling on its own as well. Blixa Bargeld boasts such a rich voice—it reminds me a lot of Jarvis Cocker, with that same rasp at the edges of the resonance you can feel in your chest. Just like Dark’s absolutely disturbing score, Bargeld’s vocals seem to buzz in moments, turning from something human into the hum of putting your ear next to a beehive. There’s a deeply poetic feel to everything in this song’s atmosphere, with the orchestral composition forming in the background and the gloom that seems to settle over every note like fog. It creeps along like frost, painted in the same grays as the album cover. What I’m trying to say here is this: whoever was in charge of the music direction for Dark—I SALUTE YOU. BLESS YOU.

“Demi Moore” – Phoebe Bridgers

Phoebe Bridgers is a distinctly 2020 artist in my musical canon. I first listened to Stranger in the Alps in the early months, before everything went…y’know, and Punisher came out that summer. But unlike Punisher, an album that’s a no-skip for me to this day, some of the songs on Stranger in the Alps didn’t do it for me on the first few listens. It’s understandable—Stranger was her debut, and with Punisher, she had more time to hone her craft and sound. But I’ve recently come back to some of those songs that I didn’t warm up to the first time; some of them still don’t impress me, but “Demi Moore,” along with the harrowing “Killer,” took a while to grow on me.

With a title borne from a misheard lyric (“I don’t wanna be stoned anymore” became “stone Demi Moore,” this song, like many of her others, lingers in the hazy, middle-of-the night lairs of vulnerability. Especially on Stranger, the instrumentals often take a backseat to Bridgers’ singing, letting the emotional side speak for itself amidst quiet synths that flicker like satellites in the night sky. Phoebe Bridgers’ voice floats along like misty fog over a creek, all at once thin and full of emotion.

And again—normally I can’t stand banjos, but these somehow work because of how…quiet they are? Sorry for the banjo slander here, but…I can’t help it, I’m sorry. I was forced to learn in 7th grade for school, but I didn’t enjoy much of it, save for trying to pluck out a rendition of “It’s A Wonderful Life” from memory. I’ll begrudgingly admit that it did help me get a bit of head start on playing guitar, but I still have a vendetta with the instrument. I digress.

Since this post consists entirely of songs, consider all of them to be today’s song.

That’s it for this week’s Sunday Songs! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music, writing

Writing Soundtracks: Songs and albums I listen to while I write, and tips for making writing playlists

Ooh, would you look at that! A new header!

Happy Wednesday, bibliophiles!

I got a notification this morning, and apparently I’ve had this blog running for…5 years? WHOAAAAA, OKAY, I FORGOT ABOUT THAT

I didn’t start semi-seriously book blogging until about a year ago, but thank you to everybody who has supported me along the way! (And for those of you who had to witness what this blog was like when I was in middle school…I’m terribly sorry for the horrors you experienced.)

ANYWAY, I figured I should start doing writing-related posts more frequently, so here’s my first(ish?) stab at it.

Many members of the writing community use music in a number of ways in the process of creating their WIP, be it picking specific songs or albums to listen to while writing, or creating book or character playlists. Music is an integral part of my life, and I’ve managed to weave it into my writing life as well. I always listen to music when I write, so I thought that I would first share some songs, albums, and scores that I like the most to get me writing my WIPs.


I think there’s been several studies about how instrumental scores help with studying, but for a lot of people, music without lyrics is helpful to focus on their writing, and is less distracting than music with lyrics. I use a mix of music with and without lyrics in writing, but for those of you who are strictly instrumental, here are some of my favorite albums–mostly film scores, mind you–that I use when writing:

Danny Elfman - Hellboy 2 (OST) - Music

Hellboy II: The Golden Army original score–Danny Elfman

Yes, yes, I know I blab about this masterpiece quite a lot, but hey, it’s Danny Elfman doing the score–what’s not to like? The score ranges from whimsically spooky to action-packed to tear-jerking, so it’s perfect for writing scenes of all kinds.

Radiohead for Solo Piano | Josh Cohen

Radiohead for Solo Piano–Josh Cohen

Even if you aren’t familiar with Radiohead, this is a spectacular collection of their pieces adapted into instrumental, piano form. I particularly like “Motion Picture Soundtrack” and “Black Star.”

Trent Reznor / Atticus Ross: Watchmen (Music from the HBO Series ...

Watchmen original score–Trent Reznor and Atticus Ross

Much of this one is electronic, but with a wide range of moods; either way, it’s always catchy, and perfectly cinematic. Also, there’s a gorgeous instrumental cover of David Bowie’s “Life On Mars?”, so of course I’d recommend it.

Anything by Jeff Russo, really

Russo has such a wide range, composition-wise, and every single score I’ve come across by him is nothing short of stellar. Some of my favorites include his scores for Legion (FX), and The Umbrella Academy (Netflix), but he’s also scored everything from Cursed to Lucy in the Sky and Fargo (the TV show)


I cram loads of music onto my writing playlists, but there’s several particular songs and albums that get me more focused/motivated/immersed in my writing than others, so here goes nothing…

Kid A Cover - How Radiohead's Most Alienating Album Got Its Cover

Kid A–Radiohead

Besides the fact that one of my WIPs features a character who is obsessed with this album, the sheer range of emotion in this album is stunning. Though it’s chiefly electronic, I’ve used these songs from everything from battle scenes to a funeral scene.

Recommended tracks:

Mitski: Bury Me at Makeout Creek Album Review | Pitchfork

Bury Me at Makeout Creek–Mitski

Another very emotional album, this one’s always great for writing scenes associated with any form of love, whether it’s the promise of it, being in the throes of it, or being apart from it. Then again, you’re talking to somebody who has had zero (0) experience with any sort of relationships, so take this as you will.

Recommended tracks:

Yankee Hotel Foxtrot By Wilco Album Cover Location

Yankee Hotel Foxtrot–Wilco

Apparently they called this album “the American Kid A” when it came out, so…did I cheat and put Kid A on here twice? If so, I don’t regret it.

Ranging from punchy, classic rock songs and dreamlike, melancholic hazes of emotion, I highly recommend this album for scenes charged with emotion–doesn’t matter what emotion we’re talking about, because there’s easily a song or two on here for everything.

Recommended tracks:

Phoebe Bridgers: Stranger in the Alps Album Review | Pitchfork

Stranger in the Alps–Phoebe Bridgers

Though I don’t like every song on the album, I’d say about 3/4 of it is positively stellar. Definitely on the sadder side, but it’s perfect for channeling strong emotion in your writing.

Recommended tracks:

David Bowie - Hunky Dory - Music

Hunky Dory–David Bowie

Besides being, y’know, the pinnacle of music, this one is chock-full of tracks that not only help me bring emotion and heart into my writing, but with songs that motivate me to write.

Recommended tracks:


I saw a piece of advice the other day about making two writing playlists: listen to one of them while writing it, and a different one when you’re editing or making the second draft, so that you’re put into a different mindset while re-reading it.

For making the playlists themselves, I usually just dump several songs I like, and go through songs as I write. If there’s a song that takes me out of the writing or has been in circulation for a few times too many, I take it off and replace it.

Just for fun, here are snippets of mine:

And yes, I did color-coordinate the album covers. It’s fun…

(Or, alternatively, “the one that I accidentally dumped all the Weezer on” and “the one without any Weezer at all”)

I also like to cobble together playlists for each of my WIPs: here, I include songs with lyrics that relate to the story, or that just have the general vibe of the WIP. For some of them, I also create character playlists going off of the same rule. For my sci-fi book, there are six different perspectives (or, I’m going to make it that way once I get around to editing it), so I have a playlist for each of them. For my current WIP, however, there’s only one perspective, so I just keep it at the protagonist.

What do you think? What are your musical techniques for writing? What’s your favorite music to write to?

Since there’s a boatload of music in this post, consider the entire thing “today’s song.”

That’s it for this writing post! Have a wonderful rest of your day, and take care of yourselves!

Posted in Books, Geeky Stuff, Music

Pairing Squad 312 with Songs (Aurora Rising)

Aaaand here's the whole squad! AURORA RISING releases May 7. Are ...
Aurora Rising art by @kiranight_art

Happy Thursday, bibliophiles!

I’ve been wanting to do a post for a bit that melds my love for the bookish and my love of music, so this is my first take on that. Aurora Rising, as many of you have figured out, is one of my favorite (if not my favorite) series, and I decided that it would be fun to match the lovable members of Squad 312 to some songs that I like, based on their personalities, relationships, and the events of Aurora Rising and Aurora Burning. I picked two songs per character, and I loved compiling them all. I hope you all enjoy!

(Along with the image at the top, all of the character images in this post are from @kiranight_art.)



Aurora Rising by Amie Kaufman & Jay Kristoff | Sheaf & Ink

“Proud”–(Sandy) Alex G: “I’m so proud of you/And everything that you do/Doesn’t matter what they say/They ain’t worth a dollar in change…

Scarlett mentions in book 2 that one of Ty’s most infuriating traits is that he accepts people’s flaws, no matter what, and isn’t there to reprimand anyone if any member of the squad messes up. No matter what, he has always been there for his squad, and sees past everyone’s previous mishaps and accepts them as who they are.

“Half a Million”–The Shins: “Theres half a million things that I’m supposed to be/A shelter in the nighttime/A punk running free…

Tyler’s fame in the Academy, as well as the legacy of his late father, has caused a lot of internal conflict within him, and I thought the chorus of this song paired perfectly with this inner struggle–how he perceives himself versus how others perceive him and how others expect him to be.


Extras – Amie Kaufman

“Pristine”–Snail Mail: “Don’t you like me for me?/ Is there any better feeling than coming clean?/And I know myself and I’ll never love anyone else…”

Scarlett’s a character who has tried to find herself through various relationships, almost none of them lasting, and I felt that this song captured the nature of some of the hidden doubts that she begins to have.

“Strange Mercy”–St. Vincent: “Oh little one, I’d tell you good news that I don’t believe/If it would help you sleep/Strange mercy…”

A trait of Scarlett’s that comes into light in contrast with her twin, Tyler, is the way they care for others–for most of book 1, Tyler does it more out of duty, while Scarlett truly seeks to protect and care for her fellow squadmates. The nature of this song almost perfectly captures her mentality.


AURORA RISING desktops - Jay Kristoff

“These Boots Are Made for Walkin'”–Nancy Sinatra: “You keep lying when you ought to be truthing/You keep losing when you ought to not bet…”

I can totally picture this playing in the scene when she ditches the rest of the squad to go to the bar…

But either way, this song kind of expresses her shifting opinions and suspicions about the rest of the squad, especially the likes of Aurora. Unlike most of the squad, she isn’t completely ready to accept her as part of the squad, and suspects an ulterior motive.

“Scorpio Rising”–Soccer Mommy: “I don’t think of my life/Anywhere but in your arms tonight/Won’t say it this time/Can’t even look back in your eyes…”

Throughout book 1, Cat still has lingering feelings for Tyler, even though their relationship has come to a standstill; this song seems to capture her desire to fall back in love.


AURORA RISING character reveal, cadets! Name: Finian de Karran de ...

“Change”–Oingo Boingo: “Don’t you ever wonder why/Nothing ever seems to change?/If it does, it’s for the worse/Guess it’s just a modern curse…”

Simultaneously sarcastic and deeply introspective, this song feels like what Finian seems to have experienced throughout his life, both in grappling with his impaired mobility and his relationships with others.

“Crown”–Jay Som: “Arranging your best words/Tying the knot/A brighter tomorrow/Could you take a shot?”

(Oops…both of these songs start with a C for no apparent reason…)

But either way, this seems like a good song to match his views on being with the Aurora Legion–everything about it, from being in open spaces to *gasp* having to collaborate with others seems like everything he wouldn’t want to do, but he takes the shot anyway, and in the end, it may be for the better.


Zila Madran | The Aurora Cycle Wiki | Fandom

“How to Disappear Completely”–Radiohead: “I’m not here/This isn’t happening…”

This seems to mesh well with how Zila has almost become disconnected from herself; due to childhood trauma, she almost loses herself, resigning herself to someone colder, more distant.

“Ice Age”–David Byrne & St. Vincent: “It’s such a shame to see you this way/Freezing it out, your own little ice age…”

Like the previous song, this seems to embody Zila’s distancing from herself, becoming almost a shell of who she might have been as a child.


Extras – Amie Kaufman

“Killer”–Phoebe Bridgers: “Can the killer in me tame the fire in you?/I know there’s something waiting for us/I am sick of the chase/But I’m stupid in love/And there’s nothing I can do…”

Was…was the chorus made for this guy?

When I first heard this song, I thought it was a beautiful embodiment of both Kal’s conflicting feelings about his nature and heritage and his relationship with Auri, especially given some of the fire-related imagery surrounding their relationship in book 2.

“Ladies and Gentlemen We Are Floating in Space”–Spiritualized: “I will love you ’till I die/And I will love you all the time/So please put your sweet hand in mine/We’ll float in space, just you and I…”

Look, I don’t ask for much in life, but…if/when the TV show goes through, can we PLEASE put this in the scene where Kal and Auri are in the pollen fields on Octavia III? PLEASE?

I’ve started to associate this song with the whole series, but Kal seems to embody it the most out of all the characters, in his helpless feelings towards Aurora and his personal struggles to better himself, and become more than his past. Plus, the choir singing “Can’t Help Falling in Love…” [cries]


Extras – Amie Kaufman

“Airbag”–Radiohead: “In an interstellar burst/I am back to save the universe…”

For me, this song perfectly embodies the shock of her waking from cryosleep, and the almost near-death experiences she goes through afterwards while grappling with her destiny and powers.

“Impostor Syndrome”–Sidney Gish: “Every other day I’m wondering/What’s a human being gotta be like?/What’s a way to just be competent?/These sweet instincts ruin my life…”

Now that she’s over two centuries out of her time, Auri’s struggle to fit in and be believed by others is beautifully captured by the nature of this song.

Tell me what you think! Did you like these songs? What other songs do you associate with these characters?

Since this post is more musically oriented, consider this whole post today’s song. 😉

That’s it for this post! Have a wonderful rest of your day, and take care of yourselves!