Tag Archives: Shade of Stillthorpe

Publication day: Shade of Stillthorpe

Shade of Stillthorpe

Book birthday! SHADE OF STILLTHORPE is published today by the excellent Black Shuck Books. It’s a lost-in-the-forest changeling story. A teen boy disappears during a camping trip & the person who reappears is entirely different – but only his father refuses to be taken in.

“A seemingly impossible premise becomes increasingly real in this inventive and heartbreaking tale of loss.” Lucie McKnight Hardy

“Parenthood is a forest of emotions, including jealousy, confusion and terror, in Shade of Stillthorpe. It’s a dark mystery that resonated deeply with me.” Aliya Whiteley

The novella’s available from all the usual places – but please do prioritise bookshops or buy direct from the publisher.

Finally, here’s a Spotify book soundtrack which acts nicely as a teaser to the story.

Shade of Stillthorpe

Book soundtrack: Shade of Stillthorpe

As I’ve explained in previous blog posts, I create soundtracks for most of my novels and longer fiction. My lost-in-the-forest changeling novella SHADE OF STILLTHORPE is steeped in music, and definitely required a soundtrack, which I created between drafts and which in turn shaped the narrative.

You can listen to the playlist via Spotify or via the widget below.

Here’s a track-by-track explanation of the selections:

1. The Earth With Her Crowns – Laura Cannell
This track represents the ‘opening credits’, for want of a better term. SHADE OF STILLTHORPE is partly a folk horror, and this sparse track evokes plenty of Blood on Satan’s Claw-esque foreboding, and it’s utterly beautiful too. And what a title! If you haven’t been listening to Laura Cannell these last few years, do.

2. The Geography – Belbury Poly
The protagonist, Key, has a relationship with the wild that’s primarily nostalgic, and this hauntological track from Belbury Poly evokes secondary-school textbooks as much as nature. I love the sampled final line – Look for this sign to show you’re on the right track – leading directly into the immediately more pessimistic ‘Get Lost’.

3. Get Lost – Tom Waits
A track that Key might well love, without recognising the implications. Here, the command to ‘get lost’ could be interpreted as an invitation to check out of normal, dull life… but after his camping expedition with his teenage son Andrew, Key will become lost in a far more profound sense.

4. Sirene – Machinefabriek & Anne Bakker
Another folk-horror-ish, hauntological track, its beauty increasingly interrupted by glitches and errors. No spoilers, but it’s all key to Key’s experience in the novella.

5. Kool Thing – Sonic Youth
The first of three diegetic tracks (that is, music that explicitly features in the story). Key loves Sonic Youth, but when his son professes a love for the band, it’s hardly reassuring. Who is this strange boy who insists that he’s Andrew?

6. Cat Claw – The Kills
Andrew – or Andy, as this unfamiliar boy calls himself – plays the simple riff from this song on the electric guitar, and not badly. Why does Key find that so unnerving?

7. The Titans / The Chamber / The Door – Bernard Hermann
Key, Alis and Andy watch Jason and the Argonauts together, partly to allow me to feature this snippet of Bernard Hermann’s score, which accompanies the discovery of the statue of Talos. It’s one of my earliest soundtrack memories, and still gives me shivers every time I hear it.

8. Tulpar – Galya Bisengalieva
This is the turning point, I suppose, when Key finally determines that he’s losing control over his environment. Galya Bisengalieva is leader of the London Contemporary Orchestra, and her first couple of EPs are outstanding, and subtly terrifying.

9. Magic Doors (live) – Portishead
Another band that Key presumably loves, and another track that takes on new meaning in the context of his gradual unravelling. This live version is a little wilder and more frenetic than the album track, with a constant threat of the rhythm section racing ahead too fast and leaving Beth Gibbons behind.

10. 1req – Grischa Lichtenberger
Utterly terrifying, dry, relentless beats, with… what? Bat swoops? There’s no turning back now.

11. Something Big – Burt Bacharach
‘End credits’, and jarringly, deliriously upbeat. Draw your own conclusions.

You can stream the playlist via Spotify, or play it directly below.


See here for more information about SHADE OF STILLTHORPE, published by Black Shuck Books on 26 April 2022.