This volume was made not long after I came back from the long distance road trip to visit my friend. The first one came out so well, and I was really getting into writing Phoenix at the time, that I wanted to make another volume. This volume was also made mostly in the back room of the record store, grabbing songs both from my own collection and from the CDs we were selling. [I may have opened one or two just to copy some songs, then to shrinkwrap them back up afterwards.] There are a few songs from the original Vigil song list here as well. I was willing to embrace some of the much earlier ideas I’d had for the project that fell by the wayside when I worked on True Faith.
It’s also interesting how this and the next volume feel a bit disjointed, and I think it’s partly because I was making a lot of the mix up as I went along. It was less about grabbing a bunch of songs I already wanted on there and more along the lines of stuff I happened to be listening to at the moment mixed in with stuff in my collection I’d been listening to since ’95. A good portion of it is less about specific scenes or ideas and more about the mood and the vibe I was looking for at the time. This one does work, although it’s not nearly as strong as volumes 1 or 4.
Songs from the Eden Cycle, Vol 2.
SIDE 1
- George Harrison, “Isn’t It a Pity (Version One)”. If I recall, I think this one just happened to pop up because there had been an open copy of All Things Must Pass that needed shrinkwrapping, and as I hadn’t listened to it in ages (I had it on vinyl), I thought it would be fun to revisit it. I’d always liked this track, dire though it was, and somehow I felt it fit in with the mood of the book, specifically how the newly awakened felt disconnected from everyone. It’s also a classic example of the ‘slow build’, a technique I’ve always loved in music.
- The Smashing Pumpkins, “Tonight, Tonight”. I’d picked up Mellon Collie not long after it came out, and even though I felt it was a bit bloated, there were some great tunes on it, and I really liked this one. It’s the exact opposite of the previous track: a celebration of freedom, in this case the freedom given to the newly awakened.
- Depeche Mode, “Home”. I was listening to Ultra quite a bit at this time as it was already one of my favorites of the year to date, and the mood of the album fit my current writing project perfectly. There weren’t any specific scenes connected to this song other than a vague idea of Poe’s connection with Kai, who at this point was still a recently awakened character instead of the Mendaihu agent she became in A Division of Souls. He wanted to provide her with comfort and a place to belong.
- Beck, “The New Pollution”. This continues the above idea, a freshly awakened spirit feeling vastly out of place and trying to figure out their new world. “She’s alone in the new pollution” to me sounded like being given a decision: do I remain a victim, or do I make the best of it instead? I think I was also going through the same thing on a personal level at the time.
- Tori Amos, “Little Earthquakes”. This dates back to my post-college Boston days when someone had played it over the air on the college station in a way to grieve a lost friend. In a way it also ties in with the above idea of victim versus victor instead… to me it’s also a song about going through all sorts of personal shit, and needing to be strong about it. Something that kind of fit me on a personal level as well.
- U2, “Gone”. Another track from Pop, this ties in with the above as well, as to me it created an image of coming to terms with loss, and with putting so much into something and getting diminishing returns. In a way that was how my connection with my ex played out so I channeled that into the story as well: finding a reason to let go and move on. “Didn’t want it that much anyway.”
- Live, “White, Discussion”. I’d been a fan of the Throwing Copper album since it came out, and I quite liked the epicness of this, especially the way it doesn’t so much end as die out slowly. I also remember it showing up in the Virtuosity movie during my time at the movie theater in Somerville. I took the original idea of this song about constant debate about right vs wrong yet actually doing nothing to fix the problem, and turned it into something tied in with Phoenix. In this case, the bigotry the newly awakened would most likely have to deal with, whether now or in the future. That had always been a plot idea: bigotry against The Other, and those who are all talk and no action about it. I suppose that’s always been in a lot of my stories at the time, come to think of it.
- Delerium, “Silence”. I absolutely loved this track at the time, and I’m pretty sure I copped the promo copy of the Karma album by then. [I’d also been a fan of Sarah McLachlan at the time.] It got a lot of play on AOR and alternative radio that summer. This ties in with the electronica wave that I felt fit in perfectly with the project; something slightly futuristic and different from the mainstream.
SIDE 2
- Sneaker Pimps, “Post-Modern Sleaze [Video Mix]”. Becoming X was getting a lot of play both in the back room and during my writing sessions, as it was the perfect mood music for this project. I’d started looking into more trip-hop, and that was why I’d glommed onto Tricky’s Pre-Millennium Tension as well. This version is a bit beefier than the original album version, so instead of it feeling a bit sparse and lonely, this one feels more like driving through Bridgetown at 2am, which is totally something Poe would do.
- Republica, “Ready to Go [US Mix]”. I needed to put in a song with a bit of oomph in it, otherwise this mix was going to be a bit dire. Well, maybe not, as some of my gloomier mixes worked really well! Anyway — this song was still getting a lot of airplay and had that relentless upbeat drive that worked well with the more positive elements of the story idea. The bliss of the exciting parts of cyberpunk, I suppose.
- Stabbing Westward, “What Do I Have to Do?”. This one dates back to the summer before I started at the record store, and I always felt this one could be tied in with a scene of the recently awakened ‘rising up’ in some way. Whether that would be a positive or a negative is left up to question. I liked the idea of a character’s drive being seen as both a good and a bad thing, depending on how you look at it. That duality played a big part in this project from here on in.
- Sarah Brightman, “Cape Horn”/”A Salty Dog”. This, on the other hand, dates back to my days in 1993-4 living and working in Boston. I’d started listening to Dive quite often on the way to work in the morning, as it had that light pop feel that was both a bit on the retro side and also calmed my frazzled nerves a bit. The first track, basically an intro, samples 1962’s Mutiny on the Bounty before starting the Procol Harum cover. That song itself is of course about the olden days of sailing, but with this synth-heavy version it made me think about spacefaring instead. It reminded me of an anime I’d seen a year or two previous (title long since forgotten) that used the same ‘don’t know when or if I’m coming back’ melancholy during the space launch scenes. This could easily have helped shape the idea I’d had of the newly awakened souls originating from somewhere other than Earth. [The original did in fact come from my New Age reading, but my remembering the song only helped solidify that.]
- The The, “Good Morning Beautiful”. I’d recently read that this song was recorded in London after many bottles of booze had been consumed, and it shows, because it’s a song full of disgust and anger, as only Matt Johnson could pull off. While it doesn’t quite tie in with the Phoenix theme, it does lend itself to the antagonism that would arise between the recently awakened and those working against them. I was still big on the idea of spiritual freedom versus religious rigidity.
- Elton John, “Believe”. This one also dates back to 1995 when I was still working on True Faith at the time. While a lot of big name alternative and grunge sounds were coming out in the early part of that year, EJ came out with the quieter and darker Made in England, and this was the big single. I remember liking the track quite a lot and latched onto it because it had that “I believe in love” refrain that worked with the Phoenix theme, specifically the connection Poe and Kai were creating. Love conquers all.
- Soul Asylum, “Black Gold”. This one on the other hand dates all the way back to the 1993 Vigil sessions! It shows up on the ‘soundtrack’ notes from that time as well. One original idea I’d had was post-apocaylpse, or more to the point a post-war idea in which NewCanta (and Bridgetown, and so on) were created basically after a horrifying world war that wiped out several cities, and several decades later these sprawls were the result. ‘This flat land used to be a town’ hints at that, and this song would work as a sort of soundtrack to those first years as a prefabricated sprawl.
- Joy Askew, “Corrine”. This song I first discovered on one of those label promo mixes, and it does lend itself to the idea of coming out of your shell. Tying in with the Phoenix idea, it’s along the lines of “Dear Prudence” in that ‘get out of the box you’ve put yourself in’ way, which was an idea I’d had for Kai.
- Phish, “Free.” I’d been listening to the newish album from them and finally getting around to listening to them more often, and I liked how celebratory this was. It ties in with the previous track, uplifting in its own way. Despite all the strife and turmoil the newly Awakened were dealing with, they also knew they had a goal: to free themselves from their binds and be their true selves.
In retrospect, this volume is fascinating in that it really leans heavily on the New Age aspect of the Phoenix project, something I was still somewhat interested in at the time. It’s also interesting in that the third volume, which I’d make a few months later, had a much darker mood to it.
Welcome to Bridgetown 