Dive into the sonic world that shaped M.L. Rio’s atmospheric novella, Graveyard Shift, a thrilling work of dark academia. As part of the acclaimed “Book Notes” series, where authors explore the musical landscapes of their literary creations, Rio unveils the playlist that became the very heartbeat of her writing process. Like many celebrated authors before her in this series, including Jesmyn Ward and Lauren Groff, Rio demonstrates how deeply music intertwines with her storytelling. For Graveyard Shift, a narrative steeped in shadows and sleepless nights, music wasn’t just background noise—it was the foundational “rio’s song” collection that set the stage.
Rio describes music as “Point Zero” for her creative engine. Weeks are dedicated to curating and immersing herself in songs that resonate with the essence of her book. This was especially true for Graveyard Shift, a story intimately linked with the themes of sleep and its absence. Drawing a parallel between her lifelong experience with insomnia and her writing life, Rio reveals music as a constant companion, providing solace in sleeplessness and even manifesting as phantom melodies in the quiet hours. The ten tracks she highlights are not just a random assortment; they are the songs that have persistently echoed in her mind since the inception of the Graveyard Shift manuscript. For those seeking a deeper dive, a more extensive playlist (though still not exhaustive) awaits within the pages of the book itself.
Tom Waits, “Whistlin’ Past the Graveyard”
Rio envisions this track as the opening scene of a film adaptation of Graveyard Shift, picturing it accompanying the introduction of the five main characters as they converge upon the cemetery. The song immediately establishes a mood that is both eerie and darkly humorous, setting the tone for the novella’s unique blend of spooky and satirical elements. Rio emphasizes the book’s identity as a black comedy, skillfully walking the tightrope between humor and horror. This duality, she explains, is mirrored in the characters’ sleepless nights, fueled by a shared sense of misfortune and a reliance on gallows humor as a coping mechanism until dawn breaks. In Graveyard Shift, everyone is, in their own way, “shit outta luck,” navigating their circumstances with a blend of desperation and dark wit, much like the spirit of this opening “rio’s song.”
The Specials, “Ghost Town”
“Ghost Town,” The Specials’ iconic single, resonates deeply with the thematic undercurrents of Graveyard Shift. Rio points out how this track, much like her novella and “Whistlin’ Past the Graveyard,” defies simple genre classification, blending reggae, punk, and new wave into a distinctive sound. Just as The Specials captured the socio-political unease of 1980s Britain, Graveyard Shift subtly reflects similar tensions within its narrative. While the contexts differ, both works explore themes of privilege and the repercussions when marginalized individuals challenge the established order. Rio draws a parallel between the urban decay depicted in “Ghost Town” and certain societal imbalances explored in her book, highlighting a shared narrative of disenfranchisement and the simmering unrest that ensues when those excluded from privilege decide to “flip the tables over.” This “rio’s song” choice underscores the novella’s subtle social commentary.
Modest Mouse, “Bury Me With It”
The raw, nihilistic energy of “Bury Me With It” encapsulates a recurring emotional state experienced by the protagonists of Graveyard Shift. Rio identifies this track’s “fuck it” attitude as a leitmotif that surfaces throughout the novella, representing those moments when each character reaches a breaking point. It’s the soundtrack to decisions made when consequences are disregarded, and risks are embraced. In a world of chronic overwork, underpayment, and relentless burnout, the song’s sentiment of futility becomes palpable. Caring itself becomes a luxury, an expenditure of energy that feels increasingly unsustainable. In this context, the song’s dark humor and resignation, its almost liberating embrace of despair, mirror the emotional depths plumbed by the characters in Graveyard Shift. This “rio’s song” embodies their moments of reckless abandon.
Misfits, “Horror Business”
Keeping details intentionally vague to avoid spoilers, Rio succinctly states that “Horror Business” is the sonic embodiment of the “Hostile Incidents” within Graveyard Shift. This track, with its raw punk energy and macabre themes, hints at the darker, more aggressive elements lurking within the novella’s narrative. The Misfits’ signature blend of horror and punk rock suggests a chaotic, perhaps violent, undercurrent in the story, a sense of impending dread and visceral action. This “rio’s song” choice acts as a cryptic clue, promising a descent into the more unsettling aspects of Graveyard Shift.
Bauhaus, “In the Night”
Bauhaus’ The Sky’s Gone Out album served as a constant sonic backdrop during the writing of Graveyard Shift. Rio confesses that numerous tracks from this seminal goth rock album could have been included, but “In the Night” stood out for its lyrical reflection of the novella’s pervading unease and its nocturnal setting. She elaborates on humanity’s inherent discomfort with both literal and figurative darkness, a discomfort that fuels the narrative tension of Graveyard Shift. The song’s fragmented, unresolved lines and the stark reminder that “you never know” perfectly mirror the driving force behind the characters—especially Edie, with her journalistic instincts—as they relentlessly pursue the truth. This “rio’s song” captures the novella’s atmosphere of suspense and uncertainty.
Echo & the Bunnymen, “Nocturnal Me”
Choosing “Nocturnal Me” from Ocean Rain instead of the more ubiquitous “Killing Moon” might seem unexpected, but Rio’s selection is deliberate. It’s the “martyr complex” at the heart of “Nocturnal Me” that resonated most strongly with her. She draws a vivid connection to the Church of Saint Anthony the Anchorite in Graveyard Shift, particularly its “crazy moldering mural” behind the altar, which she envisioned as reminiscent of a Bosch painting. “Nocturnal Me,” in its dramatic and somewhat melancholic tone, becomes the musical equivalent of this imagery—a “demented hagiographic fantasia.” This “rio’s song” choice highlights the novella’s exploration of complex, perhaps even self-sacrificing, characters operating in a darkly ornate setting.
Siouxsie and the Banshees, “Trust In Me”
Siouxsie and the Banshees’ rendition of “Trust In Me,” originally from Disney’s Jungle Book, is a surprising yet perfectly apt inclusion. Rio points out the song’s origins—sung by Kaa the snake as he hypnotizes his victims—as being “pretty on point for Graveyard Shift.” She notes the psychedelic undertones of the original 1967 Disney version and how Siouxsie Sioux uniquely transforms it into something “deliciously insidious.” This cover, from Through the Looking Glass, an album of diverse cover songs, underscores the novella’s subtle themes of manipulation, deception, and perhaps even a hypnotic quality to the unfolding events. This “rio’s song” adds a layer of unexpected, slightly unsettling charm to the playlist.
Concrete Blonde, “Bloodletting (The Vampire Song)”
“Bloodletting (The Vampire Song)” holds a unique place on this playlist as the only track explicitly mentioned within Graveyard Shift. Rio reveals that the character Hannah listens to the Bloodletting album while driving, using it to drown out the distractions of her rideshare passengers. Specifically, Hannah chooses this album before picking up the gravedigger at a bar. This detail wasn’t pre-planned; it emerged spontaneously when Rio considered what music Hannah would realistically choose in that moment. Rio connects this to the idea of personal theme songs, the music that forms the soundtrack to our lives. For Hannah, “Bloodletting” fits both thematically and aesthetically, becoming her chosen “rio’s song” for navigating the nocturnal world of Graveyard Shift.
Beat Happening, “Pine Box Derby”
Echoing the darkly comedic tone of the playlist’s opening tracks, “Pine Box Derby” by Beat Happening is described as “darkly funny and unapologetically weird.” While Graveyard Shift doesn’t feature literal witches, Rio reveals the novella’s exploration of “biomedical hocus-pocus,” drawing inspiration from her academic research into witchcraft panics and their potential psycho-pharmacological roots. She acknowledges the seemingly far-fetched nature of this connection but emphasizes its basis in real science, suggesting a subtle critique of the pharmaceutical industry. This “rio’s song” choice adds another layer of unconventional thinking to the playlist, hinting at the novella’s blend of the supernatural and the scientific.
Nick Cave & the Bad Seeds, “Dig, Lazarus, Dig!!!”
Rio playfully admits the lyrical ambiguity of Nick Cave’s work, stating, “Don’t ask me what this song is about.” However, she pinpoints the song’s central theme of “reluctant resurrections” as resonating with Graveyard Shift. The core idea, she suggests, is the notion that “sometimes it’s better to let things die.” This final “rio’s song” on the playlist adds a layer of philosophical depth, hinting at themes of mortality, the past refusing to stay buried, and the complex consequences of bringing things back to life—both literally and metaphorically—within the narrative of Graveyard Shift.
M. L. Rio’s “rio’s song” playlist offers a fascinating glimpse into the creative process behind Graveyard Shift. From the darkly humorous to the unsettlingly atmospheric, these tracks provide a rich sonic tapestry that mirrors the novella’s unique blend of dark academia, suspense, and subtle social commentary. Readers are invited to explore this playlist as a companion piece to Graveyard Shift, further immersing themselves in the world Rio has so meticulously crafted. Discover these “rio’s songs” and delve deeper into the shadows and melodies of Graveyard Shift.
M. L. Rio’s academic credentials include an MA in Shakespeare studies from King’s College London and Shakespeare’s Globe, and a PhD in English from the University of Maryland, College Park. Her debut novel, If We Were Villains, achieved international bestseller status, published in numerous countries and languages. Graveyard Shift marks her foray into the novella form.
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