"As I Stand" Soundtrack Lyrics

"As I Stand" Soundtrack Description

What this album feels like

• Immediate mood: indie-folk grit with a steady hand on the wheel. You can hear living-room amps and late-night vocals that don’t try to win the room—just tell the truth.
• Fingerprint: a modest, mostly singer-songwriter set, licensed from emerging artists and folded into a faith-forward drama. No bombast. The album lets silence do some of the scoring.
• Why it sticks: the songs feel lived-in. When the film asks heavy questions, the soundtrack answers with grain—wood, strings, breath—rather than sermons.

Background & Context

• The film: a 2013 drama about two young men bound by tragedy and drifting in opposite directions—one toward faith, one away from it. It plays like a long exhale after a hard season.
• The album: As I Stand (Original Motion Picture Soundtrack) arrived in 2013 as a 14-track, 53-minute compilation. The credit line reads like a tiny studio making it work: ℗ 2013 Carlo Nicoletta.
• Where it lives now: streaming services keep the album in circulation; the movie surfaces on free platforms now and then—very “found it one night and stayed up too late” energy.

Musical Styles & Themes

• Songbook DNA: singer-songwriter, indie folk, a hint of soft rock and contemporary acoustic pop. Fingerpicked guitars take lead; light percussion and upright-ish bass hold the back wall.
• Vocal palette: unvarnished, close-miked takes—no diva climbs, just the kind of phrasing that sounds like someone talking to a friend on the porch.
• Theme logic: songs carry process—grief, patience, second thoughts. When characters move from anger to acceptance, you can hear the tempos slow and the chords widen.

Track Highlights (no full tracklist, just moments)

• “Past Pain” — Gene Evaro Jr. — the tone-setter. A lean groove, a little dust, a chorus that doesn’t solve anything and somehow comforts anyway.
• “You See Me” — Samuel Marks — patient build, late swell. It lands like someone finally saying out loud what they were afraid might break the room.
• “Hey Boy Hey” — Asiah Mehok — light on its feet, melody forward. The film uses it like sunlight through blinds after a long night.
• “The Years” — Lelica — compact and unsentimental. The title does what the lyric doesn’t: spells out the cost.
• “All the Indecisive Ones” — Asiah Mehok — a self-portrait in motion; the hook turns indecision into momentum.
• “Way We Were” — The Season — memory framed without sepia. Clean guitars, a rhythm section that knows when to disappear.
• “Still Be Here” — The Season — the forgiveness cut. Not grand, just steady—exactly how forgiveness usually shows up.
• “Highway Stars” — Chris Renne — road-song bones, late-drive tempo. Works as connective tissue between households.
• “Does Life Begin Again” — Ryan Webster — the thesis in a title. The performance keeps it from feeling like homework.
• “Not Your Fault” — The Season — small mercy delivered plainly; the kind of song that makes a scene trust silence.

Plot & Characters (for context)

• Devin Wheeler (Ian Hutton): when he chooses to lean in, guitars soften and leave room for the vocal. You’ll notice the mixes breathe more in his scenes.
• Matthew Daniels (Adam Griffith): anger runs hot; the cues around him carry more edge—straighter drum patterns, fewer harmonies, longer shadows.
• Amanda Daniels (Vanessa Amador): a stabilizer. Her moments tend to pick warmer keys and gentler cadences.
• Ensemble orbit: family members and friends who show up imperfectly; the soundtrack keeps them human—no villain stings, no saintly choirs.

Production & Behind the Scenes

• Music shape: this isn’t an orchestral score + one big single. It’s a curated songbook by various artists, stitched to picture with restraint.
• Who steered it: the film’s director, Carlo Nicoletta, is credited with music supervision, which tracks with the album credits rolling up to his imprint.
• Associate music producer: an extra set of hands helped wrangle cues and mixes—useful when you’re licensing across multiple indie catalogs.
• How it’s cut: lots of diegetic-adjacent uses (songs that feel like the characters could actually have on in the room) and a few montage lifts where the track does the heavy lifting.
• Why it sounds cohesive: similar mic aesthetics and a bias toward organic instrumentation. Even when the writers change, the texture keeps faith with the story.

Quotes

“United by tragedy, tested by faith.” — a line used in early promos

“Would you love God for nothing?” — the question the film keeps circling

“Small songs, big feelings.” — a fan summing it up better than a press release ever could

Critic & Fan Reactions

• Critics (music-specific): a few faith-focused outlets praised the restraint—no over-scoring, no melodrama. The album was described as “modest” more than once; it’s a compliment here.
• Fans: people who found the movie on free streamers later tended to single out “You See Me” and “Past Pain” in comments—quiet favorites that sneak up on you.
• Longevity: the songs live on artist pages and playlists; the soundtrack survives the way many indie OSTs do—scattered, but easy to reassemble.

Technical Info

• Name: As I Stand (Original Motion Picture Soundtrack)
• Type: movie
• Year: 2013
• Format: 14 tracks, ~53 minutes
• Rights/Label: ℗ 2013 Carlo Nicoletta
• Primary contributors (selection): Gene Evaro Jr., Samuel Marks, Asiah Mehok, Lelica, The Season, Chris Renne, Ryan Webster
• Stylistic tags: Soundtrack, Singer-Songwriter, Indie Folk, Acoustic Pop
• Notable placements: “Past Pain,” “You See Me,” “All the Indecisive Ones,” “Way We Were”

FAQ

Is there a separate score album?

No. This release is a various-artists compilation. If there was bespoke score written for the film, it didn’t get a standalone commercial release.

Who’s behind the soundtrack rights?

The album lists ℗ 2013 Carlo Nicoletta, which lines up with the film’s creative leadership handling the music rollout.

Where can I hear the songs?

Major streaming services carry the album; many tracks also live on the artists’ pages as singles or earlier releases.

What kind of music is it?

Mostly acoustic-leaning indie and singer-songwriter cuts—intimate, clean, unfussy. If you like small-room storytelling, you’re home.

Do the songs play in order of the film?

Not strictly. The sequencing aims for a listenable arc more than a scene-by-scene map.

How the music plays against picture

1. Impact: early cues sit low, letting dialogue carry shock and fallout. Guitars enter like a friend taking a seat.
2. Wrestling: mid-film tracks give characters space to argue with themselves; drums stay restrained, tension hides in harmony choices.
3. Crossing paths: when stories interlock, the mix opens up—more air, more sustain, a little light at the edges.
4. Choosing: late cues avoid triumph. They sound like real life: hopeful without fireworks.

Cast Pointers

Main ensemble

• Ian Hutton — Devin Wheeler
• Adam Griffith — Matthew Daniels
• Vanessa Amador — Amanda Daniels
• Donna Del Bueno — featured
• Thomas Hitchcock — featured

Additional Info

• DIY spirit: several cuts existed before the film and were pulled into service—one reason the album sounds cohesive without feeling factory-made.
• Listening tip: run “You See Me” into “Still Be Here.” The second track doesn’t answer the first so much as sit beside it.
• Tiny production tell: you’ll hear room tone and breath left in. That choice keeps the film’s moral questions grounded in real voices.
• For crate-diggers: dig into the artists’ own catalogs—there’s connective tissue everywhere, and a few alternate mixes hiding in plain sight.

September, 24th 2025