Midnight Never Come is the book that began my habit of both building story-specific playlists to listen to while I worked, and creating a “soundtrack” after the novel was complete. The following are the songs from my playlists:
(My apologies for the ugly formatting; those are .txt files exported directly from iTunes, cleaned up somewhat for legibility.)
I also commissioned musician, writer, and poet Yoon Ha Lee to compose a theme song for the Onyx Court. The song is free to share; just make sure to credit Yoon Ha Lee as the composer and artist, and my series as the inspiration.
I have a long-standing habit of making soundtracks for my novels. The titles below are designed to minimize spoilers, but still, proceed at your own risk. A playlist of most of these tracks can be found on Spotify.
Midnight Never Come
- Vol. 1
- Midnight Never Come — “Elizabeth – Overture,” David Hirschfelder, Elizabeth
- 1554: A Prisoner in the Tower — “The Sheriff and His Witch,” Michael Kamen, Robin Hood, Prince of Thieves [selection]
- Elizabeth, the Virgin Queen — “Coronation Banquet,” David Hirschfelder, Elizabeth [selection]
- Michael Deven — “Opening Title: O! For a Muse of Fire,” Patrick Doyle, Henry V
- Lady Lune — “Ophelia (Version 1),” Ennio Morricone, Hamlet
- Invidiana, Queen of the Onyx Hall — “Corso and the Girl,” Wojciech Kilar, The Ninth Gate
- A Courtier’s Life — “Eliza is the fairest Queen,” Sirinu, Court Jesters
- The Goodemeade Sisters — “Concerning Hobbits,” Howard Shore, The Lord of the Rings: The Fellowship of the Ring
- Tiresias — “Poison Milk,” Joe LoDuca, Brotherhood of the Wolf
- Lord Ifarren Vidar — “Opening Titles,” Wojciech Kilar, The Ninth Gate
- The Paradise Chamber — “An Unpleasant Incident Involving a Train,” Thomas Newman, Lemony Snicket’s A Series of Unfortunate Events
- Anne Montrose — “Lady of Winter,” Joe LoDuca, Brotherhood of the Wolf
- Sir Francis Walsingham — “The Search,” Philip Glass, The Illusionist
- A Strange Game of Chess — “Walsingham,” David Hirschfelder, Elizabeth
- The Mortal Court — “Coronation Banquet,” David Hirschfelder, Elizabeth [selection]
- Now, or Ever — “Out Out Thou Strumpet Fortune,” Patrick Doyle, Hamlet
- Sir Philip Sidney’s Tomb — “Kyrie,” James Horner, The Name of the Rose
- Vol. 2
- Prison and Punishment — “Alex is another . . . ‘other’,” David Torn, The Order
- The Faerie Court — “All Hallow’s Eve Ball,” Alan Silvestri, Van Helsing[selection]
- Doctor John Dee — “La Bas – Song of the Drowned,” Lisa Gerrard, The Mirror Pool [selection]
- Six Points of Blood — “The Phasmid,” Christopher Gordon, Master and Commander
- Francis Merriman — “If Once a Widow,” Patrick Doyle, Hamlet
- Forgotten Kings — “Returns a King,” Tyler Bates, 300
- Suspiria — “Haunted Palace in 3 Acts: Reine la Belle,” Faith and the Muse, Evidence of Heaven [selection]
- Faerie Love — “Dark Sonnet,” Lorraine a’ Malena, Mirror Mirror
- 1547: A Penumbral Reflection — “Adagio from ‘Alien 3’,” Elliot Goldenthal, Alien Trilogy
- Riding with the Queen — “Upon the King,” Patrick Doyle, Henry V
- Father Thames — “Hammersmith: Prelude,” Gustav Holst [selection]
- Long and Long Ago — “Long, Long Time Ago,” Javier Navarrete, Pan’s Labyrinth
- Don’t Follow the Light — “Pan and the Full Moon,” Javier Navarrete, Pan’s Labyrinth
- A Kiss — “With This Love [Choir],” Peter Gabriel, Passion
- The Wild Hunt — “One Speed,” Graeme Revell, The Chronicles of Riddick
- Be Now Unbound — “Goodbye My Love,” Tyler Bates, 300
- The Bells of London — “Cantus in Memory of Benjamin Britten,” Arvo Pärt, Tabula Rasa
- Beneath the Oak — “‘The day is yours’,” Patrick Doyle, Henry V
- 1603: A Good Queen — “Remember Us,” Tyler Bates, 300
In the places where I did not use the full song, the selections are as follows.
From “Coronation Banquet,” which has several distinct parts in it, I used the last segment (beginning with the drumbeats) for Elizabeth, and the longest segment, the stately part, for the mortal court.
From “La Bas – Song of the Drowned,” I used the latter part, with Lisa Gerrard’s vocals.
From “Reine la Belle,” I cut the end of the song, where it becomes distinctly louder. The same goes for “All Hallow’s Eve Ball.”
From “Hammersmith,” I used the opening four minutes or so — which Holst apparently wrote to represent the Thames. The recording in question is from my high school band in concert, which is why I don’t list an album for it.
From “The Sheriff and His Witch,” I used the dark part, not the bright part at the beginning.