Music supervisor for 'Revenge,' 'Arrow,' and 'The Fault In Our Stars' makes us a fall TV playlist

The most important movie soundtrack this year was undoubtedly the top-shelf compilation put together by Season Kent for The Fault In Our Stars, and not just because it gave us Charli XCX’s inimitable “Boom Clap.” Kent has quickly become one of the go-to names in music supervision, and though she’s working on more and more film projects (she just got started working on the Magic Mike sequel), she has primarily made her bones on television.

This season, she returns to both Arrow and Revenge, and adds the brand new Arrow spin-off The Flash to her portfolio. In an effort to give our Shazam apps a rest during the forthcoming TV season, we asked Kent to make us a playlist of songs that we’ll eventually be hearing under our favorite dramatic moments and montages. Check out her picks and listen to the Spotify playlist below.

Jessie Ware, “Say You Love Me”

“I’m really excited about the new Jessie Ware record. I’m obsessed with ‘Tough Love.’ There’s a new single we got called ‘Say You Love Me,’ which I think is really great. I can definitely see it in Arrow. I’d like to use it in that show. When I listen to stuff, the tone is really important to me and the instrumentation is really important to me. The lyrical content is also important. With Arrow especially—the lyrics are very important for that show to make sure the songs work. Arrow really needs to be dead center on what’s happening on screen in the lyrics.”

The Broods, “Sleep Baby Sleep”

“It’s kind of a sweet, sad, dark song. I can’t believe no one has used it yet. Maybe it’s been used and it’s just in shows I don’t watch. It would work really well during a montage on Revenge. With Revenge, we can go a little bit out of the box. It doesn’t need to be right on as far as the lyrics. With Revenge, I just want the tone to have some crazy things going on with it—especially in the montages, because that’s where there’s usually a lot of dark, kind of crazy stuff.”

Seinabo Sey, “Hard Time”

“I’m really excited about her, and I only have two songs of hers right now. I just really like her voice.It has that dark quality to it. It’s got more of an R&B, pop kind of feel to it. I’m not sure what I’d get to use it in. But I’m very excited about her whole record. She’s got this soul kind of vibe. It feels very montage-y, very promo to me.”

Future Islands, “Season (Waiting On You)”

“Their whole record is one of my favorite records of the year, and I’m so glad it’s finally happening for these guys. I haven’t been able to find a place for them yet. But I’m trying!”

Spoon, “Do You”

“I tried to use it in the first episode of Revenge this season, but we didn’t use it. I pitched a bunch of songs, but this wasn’t the one they picked. I thought it was great, though—it has a summer feel that would be great for an opening scene. I’m going to continue pitching it.��

Son Lux feat. Lorde, “Easy”

“It’s a very different, weird kind of vibe. Definitely left of center. It would have to be the right project. I think Lorde’s vocal quality has such an interesting sound. No one really sounds like her right now. There’s a hint of darkness to it, but there’s also a hint of accessibility to it. That’s why I think Broods works really well, too—they have the same producers.”

Hozier, “Like Real People Do”

“I don’t know if people are really freaking out about him yet, but I am. He had this song called ‘Take Me To Church’ that had a really powerful music video. His record hasn’t come out yet, but I really like this song called ‘Real People Do.’ It’s just a really simple singer-songwriter thing. He has that Bon Iver-ishness to it, that really soft, breathy vocal quality. There’s a bit of a guy-from-the-woods vibe to him. It’s just acoustic guitar and his voice. For the shows, I think his lyrics would lay in really well. There’s a deeper feeling with him than with your average singer-songwriter. That’s what people look for when they’re really trying to connect to a scene. I think he’s going to be the guy who people really ask about once his song gets on a show.”

Alt-J, “Hunger of the Pine”

“It samples Miley Cyrus, and it’s so badass. I’m dying to use it. That record is really heavy, and for us it’s very specific. Finding the right moment and feeling is going to be tough. The songs don’t really fully go anywhere, which is okay, but it makes it a little tougher to put it in a new context.”

First Aid Kit, “Shattered Hollow”

“This is my jam. It was a song I got to hear while they were still working on their record, and we were considering it for The Fault in Our Stars. I loved it so much and Mike Mogis, who produced their record, was our composer on Fault, so we were really lucky to get to hear things early. It just didn’t work exactly for us for the movie, but it’s so beautiful, and I love that it really goes somewhere, and their vocal quality has such depth. It’ll find a home.”

The War on Drugs, “Eyes to the Wind”

“It’s a really special song. It’s definitely a montage song. I want to really use it in a featured way—I don’t want it to be in the background under dialogue. So I’m being very careful when I pitch that one, because it’s very special to me. The songs that really get to play out and control the scene—those I really work on for a while, starting at the script stage. And then I get really involved during the editing—making sure the transitions are really good and making sure we’re hitting certain lyrics on the cuts. I want it to feel epic. I want it to feel like a film.”

Adanowsky, “Rock Me”

“This is a total indie pop fun summer jam. It will definitely be a Flash jam. I’m saving it for The Flash. What’s exciting about The Flash is that it’s in the super hero world, but tonally they want it to be very different. Arrow is a lot darker, and there’s going to be a lot of light beats and humor in Flash, so the music will be a more of a feel-good kind of thing, playing on the humor of the show.”