Instauration: The Soundtrack

Here I am with another book, which means another soundtrack!
Oddly, there aren’t many songs in the first half of the book. Not sure why that is, except that usually my songs are tied to scenes, and when those scenes all scooted around as the series changed (which happens) they all moved to the back of the book.

That said, we’re going to start off with a song I listened to a lot, but whose scene ended up not being a scene at all. (Yeah, that happens, too.) Still, it was on the playlist I continued to listen to, so you’re going to have to listen now.

“Midnight City” M83


“On the Sea” Beach House
Chapter 19. And 26, for that matter.
Man, I love this song. It’s the perfect song for their beleaguered minds and the garbage-strewn water of the rivers and New York Bay.


“Like Eating Glass” Bloc Party
Now we make a jump to chapters 44 – 47. I’m not going to say a lot. Except I love Bloc Party.


“Dayzed Inn Daydreams” Ariel Pink
Chapter 48.

This song is bonkers and frantic and awesome. It’s also beautiful. And the lyrics–I love ’em. Just listen.


“I Will” Radiohead
Also chapter 48. (The end of chapter 48.)

Of course Radiohead is on the playlist, goobers. You expect nothing less by now, right? This song. This freaking song. In just two minutes, you’re lifted up and thrown back down and then left in a sniveling, crying heap of emotion.
(This is the only video I could find of the shorter version.)


“My Tears are Becoming a Sea” M83
Chapter 50
I can (and have) listened to this song on repeat while writing. Over and over. And, still, if it comes on in the car or when I’m truly listening, it always gives me chills. M83 sure can give you the feels, amirite?


“Fill in the Blank” Car Seat Headrest
Chapter 56

I love this song. It makes me want to throw zombies off somewhere high instead of languishing in a funk. And that’s all I’ll say about that.


“Born With a Sound” The New Pornographers
Chapters 77 – 78
“Now I know love is the way.” ❤


“Your Best American Girl” Mitski
Chapter 80 (The last part, specifically.)
This song is about a clash of cultures in a relationship and refusing to live up to certain expectations, especially when doing so would mean letting go of who you are. And about, as a reviewer said, rejecting “the idea that one must cede authenticity for love.”
Of course, you can read many places where Mitski says it much better than I do. It is her song, after all, and it’s absolutely gorgeous.
Though a bit different in my story, the words and ideas still resonated with me. And the music…damn, it’s so lovely.


“Present Tense” Radiohead
Chapter 81
So, I have one bone to pick with Radiohead: they make my embedding of videos very difficult in these posts because finding the studio version of many songs is next to impossible. Otherwise, Radiohead, you’re perfect. But maybe make my life a little easier? K, thanks.
I love love love this song. So will you. If you have a soul, that is. Ha.

Present Tense – Radiohead from DS on Vimeo.


“Simple Machine” Guster
Eric, chapters 83, 85, 87.
This song is pure awesomeness. Also, make sure to watch the video until 1:10. Heh.


“A Wolf at the Door” Radiohead
Chapter 84
Yep, another Radiohead song. Do you know how long this book is? It’s loooong. So, deal. One RH song just wasn’t enough.
Also, some characters just lend themselves to songs about wolves.
(In this (studio version!) video, you get the lyrics in English and Spanish. I thought that was pretty cool.)

“Shut Up Kiss Me” Angel Olsen
Chapter 101
When I first heard this song, I was like, “Holy crap!” It’s perfect for this scene, down to very particular lyrics. So much so that I think she might’ve written it for the book.
Fine, maybe not. Still perfect.


“King Without a Crown”  Matisyahu (Live from Stubb’s version)
Chapter 105
What happens when an Orthodox Jew (well, nowadays a former Orthodox Jew) sings reggae? This song. And it’s amazing. There’s the studio version, and the acoustic version (which, one could argue, is better suited for this scene) but this remains, in my opinion, the best version and the one that helped to shape and inspire certain characters.
It’s exultant and ecstatic and rhapsodic–and a few more words Sylvie might know. I’ve been making people listen to this song for over a decade, and now it’s your turn. Lucky!

(Here’s the acoustic version below. Fine, you can play it for chapter 106.)


“Burundi” Saul Williams
Chapters: a whole bunch of ’em, starting with 113
Sooo, if you don’t like cursing, or political statements, or the idea that, as Saul Williams himself said, “…the collective WE will never be silenced,” then don’t listen to this song. But you’ll be missing out.


“Now” Matt and Kim
Chapter 118 (and some of 117, if you like)
Warning! Don’t watch this video if you have any reaction to strobe lights. They even have a handy-dandy link to stream the song before it starts in order to avoid them, so take advantage of that if you’d rather.
This song! I’ve been waiting to give y’all this song for three years; I’ve been waiting to write this scene for three years. Aaaah, finally! I can’t even express how happy I am to have done both now. It’s so freaking perfect that I get chills.


Okay, folks, we have a problem.  I have TWO songs for the epilogue. They’re both perfect in their own way and I JUST CAN’T DECIDE.
I listen to “This Heart’s on Fire” by Wolf Parade and I’m like, “Heck yeah, this one!”
Then I listen to “There Goes the Fear” by Doves, and I think, “No way, THIS one!” Repeat this thirty-thousand times, in both orders, and you can see the conundrum I’ve faced. *sigh*
Both work for the final scene. Gah! I don’t knoooooow.

So, what I’m going to do is give them both to you and let you decide which one you like. Or you can do what I do and switch back and forth ad nauseam.

“This Heart’s on Fire” Wolf Parade (Whose lyrics couldn’t be more fitting.)


“There Goes the Fear” Doves 



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