Beautiful and Dangerous

I came across a post via Peter M. BallDying on the Mountain: How Goals will Kill You and How to Focus on the Process, written by Fred Venturini and published at litreactor. In it, Venturini references a couple of different books about positive thinking and goal setting to argue against some common wisdom.

The Power of Positive Thinking is supposedly able to literally change your life, but:

In studies performed by Gabriele Oettigen, visualizing how well things could go actually reduces your motivation, and at a subconscious level, we can confuse visualizing success with having already achieved it. […] Fantasizing about your greatest successes can slow you down, reduce your motivation, and make you feel like you’ve already achieved them.

He also warns against tying your goals into your identity, which is something I’m sure many writers struggle with. For the longest time your goal is to become a published writer, but if (and hopefully when) that happens, you’ve suddenly undermined a part of your identity by achieving your goal and realising that little has changed. You don’t immediately become happy/successful/famous/rich/whatever overnight – not only does publishing move slow, but there’s little chance of riches and fame unless you’re extremely lucky.

And he ends the piece by suggesting that goals can be broken down into processes anyway, and it’s these processes that will help you to achieve whatever it is you’re hoping to achieve with your writing career. Chop wood, carry water, which is something I’ve talked about before.

And these are all great points. I definitely get where Venturini is coming from, and mostly agree with him, but in my mind it’s bumping up against something else.

In an interview with Pagan Dawn Magazine, Alan Moore said:

Your art is as big, as powerful, as beautiful and dangerous as you yourself are able to conceive of it as being.

This is one of the quotes I’ve written onto a post-it note and stuck up in my writing area because it resonates with me. It doesn’t matter how good a writer you are, if you’re only able to conceive of your own work at a shallow level, then all you’ll be able to write is shallow work. Repo Virtual is a cyberpunk AI heist, but I don’t know that I ever would have written it if that’s all I was able to conceive of it as. More important than that basic plot is the philosophical core of the book focusing on the personhood of non-biological intelligences, and the way those intelligences could become our heirs if we ever let them. Yes, there are still multiple heists and shoot-outs, and a car chase through flooded streets, but I wrote the book because there were philosophical concepts I wanted to explore. (One day I hope to write a book that can explore deep ideas without guns, chases, mayhem, and explosions, but I’m not there yet.)

I’ve talked previously about the struggles I’m having with my next book. Frankly, I’m frightened. And the reason I’m frightened is because my conception of what this book could be is huge. In it I want to explore eco-fascism, eco-terrorism, and the various possible (horrifying) outcomes of the stresses that climate change will place on our civilisation, and I want to do that through the lens of truly disturbing sci-fi horror, which is not a genre I’ve written in at great length. The book has the potential to be serious and important, and also successful, and I desperately want it to be all those things. I desperately want it to be big, powerful, beautiful, and dangerous.

But Venturini is right. That’s not a goal I can work towards; you can’t write a book that is all those things, you can only write a book and hope. But Moore is right, because I need to still hold onto my hopes if I want to make this book the best thing I can write here and now.

I need to have my hopes and my dreams for this book so I can strive to do something more and greater than my previous work, but I also need to say “Fuck the results,” and focus on the process so I can actually get it done. I need to find that balance. And I’m almost there. The further along I get with my new and improved outline, the more confident I feel – not that it’ll be everything I want, but that I’ll be able to write it. That I’ll be able to put one word down after another until I have a novel.

The rest will come, I hope. With all the research and planning I’ve done, and with all the writing and editing I will do, I just have to hope it comes together. Maybe it won’t be important, or successful, but it’ll be the best thing I can write right now, and that’s enough. It has to be.

Nothing Here Newsletter

If the updates here on the website are too infrequent for your tastes, then your best bet is to sign up for the Nothing Here newsletter, which I run with some friends of mine. I think of it as something like a podcast in text form – we share a bunch of interesting links and recommendations, with room for a little conversational back and forth.

If you’re here at this website, then you already know who I am, but let me introduce the rest of the nothinghere team:

We occasionally have guests on board to talk about their projects, interests, et ceteras, and we also have a paid subscription tier for bonus letters – more in-depth reviews, short fiction, weird essays, and other miscellanea. Sign up below, or if you visit this link you can hit the “Let me Read It First” button to get a taste of what it is we do every fortnight.

REPO VIRTUAL Cover Reveal

Repo Virtual cover - art/design by Christine Foltzer
Repo Virtual cover – art/design by Christine Foltzer

The cover for Repo Virtual was recently revealed over at the B&N Sci-Fi & Fantasy blog. I say a little at the link, and there’s also a blurb for the book (I don’t think it’ll be the back cover blurb, but it’s how I pitched the book to my editor at Tor.com Publishing), so have a look at the link if you want more information.

The book isn’t out until April 2020, but already someone on twitter told me they preordered it, which is fantastic. Soon enough I’m hoping I can talk about a preorder incentive package I’m trying to put together. More details here as soon as I have them.

And a big thank you to Warren Ellis for the fantastic blurb. Not only did he find time to read it in his #1000mphclub schedule, but he got back to me in no time at all – which makes me think that even for a 100k word novel, I’ve written something quick and compelling.

I’m really proud of this book, and can’t wait for it to be out in the world… riding that zeitgeist wave alongside the folk at CDPR.

Supanova, April 2019

Supanova Authors, April 2019
Left to right:Me, Alan Baxter, Jodi McAlister, Paige Belfield, Lynette Noni, Victoria/V.E. Schwab, Rachael Craw, Marlee Jane Ward.

This is the main gang that I had the pleasure of touring with for Supanova in Melbourne and on the Gold Coast.

On the GC, Alan, Lynette, and I also got to share a stage with these two:

Writing Action PanelJames and Marc Lindsay, who I toured with at a previous Supanova, and who are always good value. It was a great panel, talking all about writing action scenes, and I had a great chat to the brothers after the panel too.

I had planned to write more, but some bastard infected me with con crud, and 2.5 weeks later I’m still not feeling 100%. I will however say that Alan Baxter joined us on the Nothing Here newsletter, where he and m1k3y went into some detail about writing martial arts action scenes (Alan being a kung fu instructor as well as a writer of dark tales).

Thanks to Ineke for having me on board! It’s always a great (if tiring) weekend, and I really love nothing more than talking with readers and my fellow writers.

Liminal

I am at something of a loss. I’m in a weird liminal space at the moment – I’m waiting on line edits from Carl on REPO VIRTUAL, and trying to decide what my next big project will be once that’s locked away. I know exactly what that project should be – my CrispSF novel – but I’m hesitating. Honestly, I might just be scared.

The VoidWitch books were really personal, but otherwise “light” in a lot of ways. As in, if you didn’t recognise that I was using the books to explore my depression, self-loathing, lack of self-worth, anger, disappointment and disconnection with family, and feelings of listlessness, then maybe the books would seem fun but shallow. So with Repo Virtual, I wanted to do something different. I wanted to do something that asked bigger and broader questions beyond my own experiences, I wanted to write about a future that could be just around the corner and/or already here. I wanted to do something more “serious” and more intelligent. I wanted to write something that was in conversation with the cyberpunk canon, and maybe pointing the way forward along a slightly different path. And I think I pulled it off, for the most part. Or at the very least I pulled it off as well as I could have at that moment in time.

So now I’m looking to the next step. I want to up my game again, write a novel that will be even more difficult than Repo Virtual, and in doing so also create a new sci-fi subgenre (because, why not aim high?). But something has given me pause.

In her review of Static Ruin, Tasha Leigh compared the VoidWitch books to Ursula Le Guin or Kij Johnson, and while I don’t think I’ve earned those comparisons yet I can see what she means. There’s a sort of free-wheeling inventiveness in the Saga that might be similar to what Le Guin and Johnson do – weird ideas dropped into place to hint at different sub/cultures in the galaxy, backstories only ever hinted at, and an entire universe of worldbuilding that casts a shadow over the books without ever actually being seen clearly. And so reading that review when I was right near the end of Repo Virtual, I got worried: Was that the best thing about my writing, and had I completely left it out of RV? When I look at RV, all I see are the books, articles, shows, films, and philosophers I’m referencing. I know that isn’t the whole book, it might not even be a big part of it, but I’ve been too deep in it for too long to have any sort of context. In using a near-future setting, did I shoot myself in the foot? Did I lose too much of what makes my writing work? Or will RV work for different reasons? Is it better, worse, or just different?

With the CrispSF novel, I would perhaps be splitting the difference – I can already see all the ways that ‘free-wheeling inventiveness’ will be able to manifest itself in the book, while it will also look at real-world issues, future fears, and a different sort of philosophy than what I explored in RV. But at the same time, it has to be a dark book. It has to be horrifying. And I don’t know if I can pull it off yet.

Hence the twitter poll:

Twitter poll

And I have a good idea of what Parallel Universe Spies will look like, and I think it could be big – in terms of worldbuilding, series size, and in terms of reader response. So I’m struggling. Do I dive into Crispr Heart of Darkness and see if I can pull it off, pushing and challenging myself to do something utterly different and completely new? (Or new to me at least – I’m almost certain there are books out there doing similar things, if only because there are so many books out there.) Do I tackle climate change directly, and the tools we might use to face it and adapt to it? Or do I tackle it tangentially in a series of novellas with PUS (because I don’t think I can not write about it)?

Is my fear about writing Crispr HoD something to be overcome, or is it something instinctual I should listen to? Might the book be important, or is my desire to ‘create a new subgenre’ pure egocentric bullshit?

I think what I’m actually going to do is develop both. Come up with the characters and outlines for each, and see which one I need to write. See which one sets that fire under my arse. It could be that in developing my Crispr book, the fear fades as I see how it could form, or maybe I’ll realise it’s beyond me. Or maybe I need to write a novella, a palate cleanser between big novels.

If I had an agent, maybe this would be an easier decision to make. Instead, I’m writing it all out here, in an effort to make sense of it… More than anything, I just want another project. I want to stop feeling quite so lost.

Static Ruin Shortlisted for an Aurealis Award

Yesterday the Aurealis Award shortlists were announced, with Static Ruin making the shortlist under Best Science Fiction Novella. As both Void Black Shadow and Static Ruin were released in 2018, both were eligible, and I actually thought VBS had a better chance of earning the nomination because it’s darker and more political. But Static Ruin is deeply personal, so I couldn’t be happier to see if shortlisted.

All of the shortlists are below, taken from the Aurealis announcement here. Seeing these lists in the one place is a great reminder of how exciting and thriving a SFFH scene we have here in Australia. Congratulations to all the other shortlisted folk – I’m honoured to be featured alongside you.

2018 Aurealis Awards finalists announced

The Continuum Foundation (ConFound), organisers of the 2018 Aurealis Awards, is delighted to announce the finalists for the Awards.

Winners of the 2018 Aurealis Awards, Sara Douglass Book Series Award, and the Convenors’ Award for Excellence will be announced at the Aurealis Awards ceremony taking place in Melbourne on Saturday May 4, 2019.

2018 Aurealis Awards – Finalists

BEST CHILDREN’S FICTION
– The Relic of the Blue Dragon, Rebecca Lim (Allen & Unwin)
– The Slightly Alarming Tales of the Whispering Wars, Jaclyn Moriarty (Allen & Unwin)
– The Endsister, Penni Russon (Allen & Unwin)
– Secret Guardians, Lian Tanner (Allen & Unwin)
– Ting Ting the Ghosthunter, Gabrielle Wang (Penguin Random House Australia)
– Ottilie Colter and the Narroway Hunt, Rhiannon Williams (Hardie Grant Egmont)

BEST GRAPHIC NOVEL / ILLUSTRATED WORK
– Deathship Jenny, Rob O’Connor (self-published)
– Cicada, Shaun Tan (Hachette Australia)
– Tales from The Inner City, Shaun Tan (Allen & Unwin)

BEST YOUNG ADULT SHORT STORY
– “A Robot Like Me”, Lee Cope (Mother of Invention, Twelfth Planet Press)
– “The Moon Collector”, D K Mok (Under the Full Moon’s Light, Owl Hollow Press)
– “The Sea-Maker of Darmid Bay”, Shauna O’Meara (Interzone #277, TTA Press)
– “Eight-Step Koan”, Anya Ow (Sword and Sonnet, Ate Bit Bear)
– “For Weirdless Days and Weary Nights”, Deborah Sheldon (Breach #08)

BEST HORROR SHORT STORY
– “The Offering”, Michael Gardner (Aurealis #112)
– “Slither”, Jason Nahrung (Cthulhu Deep Down Under Volume 2, IFWG Publishing Australia)
– “By Kindle Light”, Jessica Nelson-Tyers (Antipodean SF #235)
– “Hit and Rot”, Jessica Nelson-Tyers (Breach #08)
– “Sub-Urban”, Alfie Simpson (Breach #07)
– “The Further Shore”, J Ashley Smith (Bourbon Penn #15)

BEST HORROR NOVELLA
– “Andromeda Ascends”, Matthew R Davis (Beneath the Waves – Tales from the Deep, Things In The Well)
– “Kopura Rising”, David Kuraria (Cthulhu: Land of the Long White Cloud, IFWG Publishing Australia)
– “The Black Sea”, Chris Mason (Beneath the Waves – Tales from the Deep, Things In The Well)
– Triquetra, Kirstyn McDermott (Tor.com)
– “With This Needle I Thee Thread”, Angela Rega (Aurum, Ticonderoga Publications)
– Crisis Apparition, Kaaron Warren (Dark Moon Books)

BEST FANTASY SHORT STORY
– “Crying Demon”, Alan Baxter (Suspended in Dusk 2, Grey Matter Press)
– “Army Men”, Juliet Marillier (Of Gods and Globes, Lancelot Schaubert)
– “The Further Shore”, J Ashley Smith (Bourbon Penn #15)
– “Child of the Emptyness”, Amanda J Spedding (Grimdark Magazine #17)
– “A Moment’s Peace”, Dave Versace (A Hand of Knaves, CSFG Publishing)
– “Heartwood, Sapwood, Spring”, Suzanne J Willis (Sword and Sonnet, Ate Bit Bear)

BEST FANTASY NOVELLA
– “This Side of the Wall”, Michael Gardner (Metaphorosis Magazine, January 2018)
– “Beautiful”, Juliet Marillier (Aurum, Ticonderoga Publications)
– “The Staff in the Stone”, Garth Nix (The Book of Magic, Penguin Random House)
– Merry Happy Valkyrie, Tansy Rayner Roberts (Twelfth Planet Press)
– “The Dressmaker and the Colonel’s Coat”, David Versace (Mnemo’s Memory and Other Fantastic Tales, self-published)
– The Dragon’s Child, Janeen Webb (PS Publishing)

BEST SCIENCE FICTION SHORT STORY
– “The Sixes, The Wisdom and the Wasp”, E J Delaney (Escape Pod)
– “The Fallen”, Pamela Jeffs (Red Hour, Four Ink Press)
– “On the Consequences of Clinically-Inhibited Maturation in the Common Sydney Octopus”, Simon Petrie & Edwina Harvey (A Hand of Knaves, CSFG)
– “A Fair Wind off Baracoa”, Robert Porteous (Hand of Knaves, CSFG)
– “The Astronaut”, Jen White (Aurealis)

BEST SCIENCE FICTION NOVELLA
– “I Almost Went To The Library Last Night”, Joanne Anderton (Aurum, Ticonderoga Publications)
– The Starling Requiem, Jodi Cleghorn (eMergent Publishing)
– Icefall, Stephanie Gunn (Twelfth Planet Press)
– “Pinion”, Stephanie Gunn (Aurum, Ticonderoga Publications)
– “Singles’ Day”, Samantha Murray (Interzone #277, TTA Press)
– Static Ruin, Corey J White (Tor.com)

BEST COLLECTION
– Not Quite the End of the World Just Yet, Peter M Ball (Brain Jar Press)
– Phantom Limbs, Margo Lanagan (PS Publishing)
– Tales from The Inner City, Shaun Tan (Allen & Unwin)
– Exploring Dark Short Fiction #2: A Primer to Kaaron Warren, Kaaron Warren (Dark Moon Books)

BEST ANTHOLOGY
– Sword and Sonnet, Aidan Doyle, Rachael K Jones & E Catherine Tobler (Ate Bit Bear)
– Aurum, Russell B Farr (Ticonderoga Publications)
– Mother of Invention, Rivqa Rafael & Tansy Rayner Roberts (Twelfth Planet Press)
– Infinity’s End, Jonathan Strahan (Solaris)
– The Best Science Fiction & Fantasy of the Year, Jonathan Strahan (Solaris)

BEST YOUNG ADULT NOVEL
– Small Spaces, Sarah Epstein (Walker Books Australia)
– Lifel1k3, Jay Kristoff (Allen & Unwin)
– Catching Teller Crow, Ambelin Kwaymullina & Ezekiel Kwaymullina (Allen & Unwin)
– His Name was Walter, Emily Rodda (HarperCollins Publishers)
– A Curse of Ash and Embers, Jo Spurrier (HarperCollins Publishers)
– Impostors, Scott Westerfeld (Allen & Unwin)

BEST HORROR NOVEL
– The Bus on Thursday, Shirley Barrett (Allen & Unwin)
– Years of the Wolf, Craig Cormick (IFWG Publishing Australia)
– Tide of Stone, Kaaron Warren (Omnium Gatherum)

BEST FANTASY NOVEL
– Devouring Dark, Alan Baxter (Grey Matter Press)
– Lady Helen and the Dark Days Deceit, Alison Goodman (HarperCollins Publishers)
– City of Lies, Sam Hawke (Penguin Random House)
– Lightning Tracks, Alethea Kinsela (Plainspeak Publishing)
– The Witch Who Courted Death, Maria Lewis (Hachette Australia)
– We Ride the Storm, Devin Madson (self-published)

BEST SCIENCE FICTION NOVEL
– Scales of Empire, Kylie Chan (HarperCollins Publishers)
– Obsidio, Amie Kaufman & Jay Kristoff (Allen & Unwin)
– Lifel1k3, Jay Kristoff (Allen & Unwin)
– Dyschronia, Jennifer Mills (Picador Australia)
– A Superior Spectre, Angela Meyer (Ventura Press)
– The Second Cure, Margaret Morgan (Penguin Random House)

The Sara Douglass Book Series Award shortlist will be announced at a later date due to the volume of entries under consideration.

2018 Retrospective

It’s the start of a new year, which is as good a time as any to look back at the last one. I know I got a lot of work done, but it doesn’t feel like I did. I edited Static Ruin at the start of the year, and outlined and wrote the first draft of Repo Virtual, then edited and rewrote that draft to get it to a point where I was satisfied with submitting it to my editor. On top of that I wrote one or two short stories, a few essays/articles, and three comics pitches. All while working a part-time job, and doing all the other stuff that we have to do just to live.

But still, I only wrote one novel. That’s what my brain keeps telling me. Only one novel, as though some writers don’t spend years on a novel, as though I didn’t pour my everything into writing that book.

I had it in my mind that I would like to write a novel and a novella per year, so anything less than that feels like failure. I’m trying to cut myself some slack though, but we’ll see how that pans out.

Anyway, I’ve got some really exciting projects lined up for 2019. One is a comic series that Austin and I are currently planning (along with a one-shot that we’ll probably put together as a sort of proof-of-concept RE: the whole comics collaborating thing), one is a novella or short novel that I’m currently planning with another collaborator, and the third is my Crisp novel, which has been slowly growing and evolving in my mind for literally 1 week shy of 2 years. All three of those projects might not come together this year, or at all, particularly as collaborations set up a whole bunch of additional hurdles, but I’m excited about them. If nothing else, I just want to get the first draft of that Crisp novel written, anything more will be gravy.

2018 is also the year that I really focused on reading more non-fiction. I still hugely value fiction because there is plenty more for me to learn in prose writing, and because writing is a conversation, but since Killing Gravity was published I’ve also seen the value in reading things I normally wouldn’t, in reading non-fiction that could feed into my projects, and in actively trying to learn more about the world.

Even though I read plenty of great books, the two that stand out in my mind are Nick Harkaway’s Gnomon, and Brooke Bolander’s The Only Harmless Great Thing. These two books not only grabbed me, like many of the others did (Jane Rawson’s From the Wreck and Omar Robert Hamilton’s The City Always Wins come to mind), but they also taunted me by saying “You’ll never write something this multi-faceted/multi-layered/complex/precise/good/etc.” With three intertwined timelines/stories, The Only Harmless Great Thing is precisely wrought and utterly phenomenal, cramming an awful lot in to such a slim volume. And with it’s nested stories, deep, deep narrative layers, and utterly unique voices, Gnomon is so good that if you’re a writer it will make you kind of hate Nick Harkaway. I still don’t love the ending, but at the same time I see why it was the only way he could have written it. The size of it might put some people off, but it is simply stunning. I really don’t know how Harkaway did it.

So, 2019. In the short-term, it’s going to involve a lot of work editing Repo Virtual, but after that, I’m excited and hopeful about these next three projects. Wish me luck.

2019 Appearances

2019 hasn’t even begun yet, but already I’ve got some appearances lined up.
First off, on Friday February 1st, Marlee Jane Ward, Angela Meyer, and myself will be doing readings at Brunswick Bound as part of their First Chapters series of events. Ours is the first event of the year, with a definite sci-fi bent – if you’re in or around Melbourne and want to see us in the flesh and hear what we sound like, come along – 361 Sydney Road, Brunswick, Friday 1st of Feb, starts at 7pm.

And I’ll be doing Supanova again! I’ll be at Melbourne Supanova on April 5-7, and Gold Coast Supanova on April 12-14. These are the only Supanova shows I’m planning to do in 2019 (that could change, but I doubt it), so apologies to folks in other cities. This time around, I’ll be joined at the author table by Australia’s prince of horror, Alan Baxter, the prolific YA fantasy scribe, Lynette Noni, and fantasy author Jodi McAlister, with more names to be announced.

Anyway, I hope that whatever holiday you celebrate around this time of year, you had a fantastic time. 2018 has been a rough one inside this skull of mine. But I survived, and so did you. I’m not going to lie to you – things are going to get tougher and weirder for a while yet. Stay strong. Remember your friends and loved ones are there for you, and remember to be there for them. We only have each other.

The Sound of Static Ruin

I’ve posted a ‘Sound of’ post for both Killing Gravity and Void Black Shadow, detailing the music (or, for Void Black Shadow, audio performance) that inspired each book, but this time around, I wanted to do something a little different.

If you want to know what the inside of my head sounded like while I was writing Static Ruin, you only need to listen to Young Widow’s full discography, starting with Old Wounds, then onto In and Out of Youth and Lightness, and then finally to Easy Pain, listening to the full album from start to finish. Also add a heavy dose of MY DISCO’s album Severe, though I did have to put this one aside any time I was writing an action scene.

But, as I neared the end of the book, I knew I needed to do something a little different.

I always listen to complete albums, from start to finish, without skipping any tracks. This is why I can’t listen to an album for an extended period of time if there’s even one track on it that I actively dislike. I could remove that track from the playlist, but I don’t see that as a viable choice. The way I see it, an album is like a book, and you would never tear a chapter out of a book.

Anyway, when we’re talking about individual songs, I find that I tend to really latch on to final tracks – usually melancholic, sometimes outright depressing, sometimes uplifting – endings so strong they make you want to start the album again right from the beginning. So, I thought, why not put together a playlist of these final tracks, to set the tone as I was writing the final chapters of the final book in the VoidWitch Saga? And that is what I have here for you now – a playlist entitled Endings. That is the spotify link, but the full list is below. Each one of these songs is from an absolute favourite album of mine, and I recommend listening to the full album if any song takes your fancy. Bandcamp links are included where available.

  1. These Arms Are Snakes – Briggs (from Tail Swallower & Dove)
  2. CHELSEA WOLFE – The Abyss (from The Abyss)
  3. Isis – Threshold of Transformation (from Wavering Radiant)
  4. Clann Zú – You’re Listening to a Dead Man Speak (from Rua)
  5. Fiona Apple – Waltz (Better Than Fine) (from Extraordinary Machine)
  6. Chelsea Wolfe – Lone (from Pain is Beauty)
  7. Clark – The Autumnal Crush (from Body Riddle)
  8. Autolux – Becker (from Pussy’s Dead)
  9. Isis – Garden Of Light (from In the Absence of Truth)
  10. Fiona Apple – Hot Knife (from The Idler Wheel […])
  11. Purity Ring – Shuck (from Shrines)
  12. These Arms Are Snakes – Crazy Woman Dirty Train (from Easter)
  13. The Mars Volta – Zed And Two Naughts (from Noctourniquet)
  14. Genghis Tron – Ergot (Relief) (from Board up the House)
  15. MY DISCO – Careless (from Severe)
  16. Young Widows – In My Living Room (from Easy Pain)
  17. Mark Lanegan Band – Tiny Grain Of Truth (from Blues Funeral)
  18. Future Of The Left – Why Aren’t I Going To Hell (from How To Stop Your Brain in an Accident)
  19. Isis – Grinning Mouths (from Panopticon)
  20. Russian Circles – Memorial feat. Chelsea Wolfe (from Memorial)
  21. Tom Waits – Blue Valentines (from Blue Valentine)
  22. Fiona Apple – I Know (from When the Pawn […])
  23. Autolux – Capital Kind Of Strain (from Future Perfect)
  24. Liars – The Other Side Of Mt. Heart Attack (from Drum’s Not Dead)

The playlist always had to open with Briggs – the final song off the final album of one of my all-time favourite bands, and (for those playing at home) the place where I took the name for the villain from Killing Gravity. And it was always going to end with The Other Side of Mt. Heart Attack. I can’t listen to this song without crying, and I’m not even sure why anymore, but I know I want it played at my funeral. For the purposes of Static Ruin, think of it as Mars & Squid’s song.