"Still Green" Soundtrack Lyrics

"Still Green (Original Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does a beach-house coming-of-age drama sound like when the air is salt-thin and friendships are about to snap? Still Green leans into indie rock, small-room acoustics, and late-night headphone songs — the kind of tracks you’d actually find on a burned CD left in a glove box. The soundtrack stitches Bishop Allen, Jump (Jay Clifford’s band), Orange Island, and The Curtain Society into a mixtape that moves from porch-light chatter to ocean-dark consequence.

The film follows a senior-summer crew before college; an accident in the water tests bonds and guilt. Musically, jangly guitars and DIY drums carry the early hangout beats, while hazier, slower cuts take over as remorse and reckoning arrive. Genres phase cleanly: indie pop for easy laughter; emo-tinted alt-rock for crushes and rivalries; post-hardcore edges for blow-ups; dream-pop for the long, quiet drives home.

How It Was Made

Writer–producer Georgia Menides built the script as a character piece for director Jon Artigo; the soundtrack followed suit — not starry, but believable. Music supervision is credited to Rich Macar and John Menides, with Georgia Menides also on the music-editing side. The commercial album appeared later in the film’s life on Audio & Video Labs, Inc., bundling a lean set of licensed songs that mirror the film’s mood.

Tracks & Scenes

Selected placements and album cuts below. Time notes are relative to the ~89–90 minute cut (early / mid / late). Not a full tracklist.

“Busted Heart” (Bishop Allen)

Where it plays:

Early beach-house montage — unpacking, room claims, first jokes on the deck. A jangly, sun-bleached intro to the group’s rhythms. Non-diegetic; early.

Why it matters:

Sets the mixtape tone: handmade, catchy, a little bittersweet — exactly their week.

“Bishop Allen Drive” (Bishop Allen)

Where it plays:

Bike-and-board errands into town; Polaroid vibes and back-seat teasing. Non-diegetic; early-mid.

Why it matters:

Same band, different tempo — momentum before the story turns.

“Daylight” (Jump)

Where it plays:

Blue-hour sequence the night before the accident — porch lights, unresolved glances, the ocean humming underneath. Non-diegetic; mid.

Why it matters:

Textbook “calm before” cue — tender and uneasy at once.

“Pyretic Eyes (The Same Soap Opera)” (Orange Island)

Where it plays:

Argument and fallout after secrets surface; tempers spike, doors slam, someone heads for the beach alone. Non-diegetic; mid-late.

Why it matters:

Post-hardcore edge matches the emotional heat — it’s the sound of consequences arriving.

“Slowberry” (The Curtain Society)

Where it plays:

Late-night drive along the coast — thin dialogue, fogged windows, distant surf. Non-diegetic; late.

Why it matters:

Dream-pop haze lets regret breathe; you can hear the silence between friends.

“Steak Knife” (Steve Hit Mike)

Where it plays:

Kitchen party scene with too-loud laughter and spilled drinks; someone flips the track on a tinny stereo. Semi-diegetic; early-mid.

Why it matters:

Gives the house a sonic identity — cheap speakers, real kids, messy fun that won’t last.

“Gone” (Silka Tobias)

Where it plays:

Morning-after montage — phone calls not returned, beds unmade, the ocean suddenly looks bigger. Non-diegetic; late.

Why it matters:

A soft cut that underlines the film’s shift from thrill to ache.

“Learning Curve” (Waiting for Sully)

Where it plays:

Apologies and half-apologies on a pier; two characters talk around the thing they mean. Non-diegetic; late.

Why it matters:

The title does the work — growth hurts, but it’s happening.

Notes & Trivia

• The movie premiered on the indie/festival circuit and reached DVD on October 13, 2009.
• The soundtrack album arrived later that fall via Audio & Video Labs, Inc. with a 14-track lineup.
• Artists include Bishop Allen, Jump, Orange Island, The Curtain Society, and regional acts tied to the Northeast scene.
• Music supervisors: Rich Macar and John Menides; Georgia Menides handled music editing among other roles.
• Filming took place on Florida’s Gulf Coast (Naples/Bonita/Port Charlotte) — the coastal tone seeps into the selections.

Music–Story Links

Early Bishop Allen cues play like a friendship contract — everyone’s agreed this will be perfect. “Daylight” sneaks in before the break, already grieving what’s coming. When the louder Orange Island cut hits, it’s not just volume; it’s the plot boiling over. The Curtain Society’s dream-pop winds the night down so the characters can finally hear themselves. The soundtrack maps belief to reality: the songs get darker as the week gets real.

Reception & Quotes

Reception was a mix of small-market praise and online shrugs, but most notices agreed the music felt authentic to the characters’ age and year.

“Still Green weaves a tale of coming-of-age, emotion.” — Telegram & Gazette

“Indie-leaning songs fit the kids’ world.” — product/album blurb

Interesting Facts

• Real bands, no ringers: Several cuts are pulled directly from artists’ existing releases (e.g., Bishop Allen’s 2003 material), matching the film’s period vibe.
• Regional crossfade: Lineup mixes New England alt/emo with Brooklyn indie and college-town acts.
• Track count: Commercial album runs ~14 songs (~54 minutes) in its common digital edition.
• DIY texture: Many placements feel like diegetic stereo moments — appropriate for a rented, slightly beat beach house.
• Fan breadcrumb: Orange Island’s contribution is documented in the band’s own compilation credits.

Technical Info

• Title: Still Green (Original Soundtrack)
• Film Year: 2007 festival run; DVD release October 13, 2009
• Type: Feature Film Soundtrack (Compilation)
• Music Supervision: Rich Macar; John Menides
• Music Editing: Georgia Menides
• Label/Release: Audio & Video Labs, Inc. — late 2009 digital/CD issue
• Representative Tracks (album era): “Busted Heart,” “Bishop Allen Drive” (Bishop Allen); “Daylight” (Jump); “Pyretic Eyes (The Same Soap Opera)” (Orange Island); “Slowberry” (The Curtain Society); “Steak Knife” (Steve Hit Mike); “Gone” (Silka Tobias); “Learning Curve” (Waiting for Sully)
• Availability: Digital storefronts/streaming; CD via catalog retailers

Questions & Answers

Which artists define the film’s sound?

Bishop Allen, Jump, Orange Island, and The Curtain Society anchor the mixtape vibe.

Is there an official soundtrack album?

Yes — a ~14-track release issued in late 2009 by Audio & Video Labs, Inc.

Who handled music supervision?

Rich Macar and John Menides; Georgia Menides also served in the music department.

Does the film use diegetic music?

Frequently — house speakers, cars, and porch stereos seed several cues before the mix blooms.

When did the movie reach home video?

October 13, 2009 (DVD), after a festival run.

Key Contributors

Sources: Wikipedia (film & soundtrack overview); IMDb (music supervisors & soundtrack titles); Amazon Music/retail listings (album date/track lineup); band discographies noting compilation appearances; official trailer uploads.

November, 27th 2025