Whether viewers are seasoned listeners or new fans of Kate Bush, these ten songs will remind them of their favorite Stranger Things characters.

When Stranger Things Season 4 catapulted "Running Up That Hill" to the top of the charts nearly 40 years after its release, a whole new generation of listeners discovered the experimental art-pop music of Kate Bush. The song was fundamental to the season as it was not only Max Mayfield's favorite song but it saved her from the villainous Vecna.

For those listening for the first time, and those rediscovering her full catalog, Kate Bush's discography is a treasure trove of captivating songs and stories. These selections are a great primer to her music, and the songs will remind listeners of their favorite Stranger Things characters.

This pairing is obvious, as "Running Up That Hill" is Max's favorite song, and its haunting chords and vocals save her from Vecna's curse. Much of Max's inner struggle and mental state during Season 4 can be understood through her love of the song.

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"Running Up That Hill," released on the critically acclaimed album Hounds of Love in 1985, sprung from Bush's realization that men and women are frequently unable to communicate due to their fundamental differences. The song supposes a deal with a higher power to allow the narrator to swap bodies with her partner, thereby gaining a greater understanding of each other's struggles. This idea would be appealing to Max, who regrets not trying harder to understand and empathize with Billy while he was alive. She also feels incapable of sharing her innermost thought with Lucas and her friends, for fear of being misunderstood.

Clumsy and sometimes insecure, Robin's body (and mouth) tend to move faster than her brain. While her quick tongue can be an asset, she frequently feels out of control, especially under pressure or in the presence of her crush, Vickie.

Like the narrator of the Kate Bush song "Rubberband Girl," Robin longs to be "like a rubber band", more flexible, more adaptable, and more confident in most situations. With a lyric like "I gotta land with my feet on the ground and let my body catch up," the song is a clear fit for a girl who took longer to walk than all the other babies.

"Cloudbusting" was inspired by A Book of Dreams, Peter Reich's memoir about his relationship with his father Wilhelm Reich, a radical psychiatrist who was arrested and imprisoned during Peter's childhood. The song is wistful and nostalgic, building to a triumphant march by its climax.

"Cloudbusting's" description of experimental rain-making contraptions feels like a project Dustin might undertake as one of the smartest characters in Stranger Things. The admiration of the narrator for his father is reminiscent of Dustin's attachment to older characters like Steve and Eddie. Just like the narrator of "Cloudbusting," Dustin feels a deep resolve to carry on the legacy of his late mentor, Eddie Munson.

Lovelorn Steve seems to be embroiled in a love triangle with Nancy and Jonathan as of Season 4. For the first time, he's able to maturely articulate his feelings, even though Nancy appears to have chosen Jonathan (for now).

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The Kate Bush song "Oh to Be in Love" blissfully captures the chaotic state of being in love, while simultaneously cursing it. Much like Steve wishes he had grown up in time to be good enough for Nancy to choose him, the song's narrator longs to "stop the swing of the pendulum." "Oh to Be in Love" is bright, vulnerable, and insecure all at once, similar to the position in which Steve finds himself.

As the younger Stranger Things characters enter adolescence, Will is the most affected by the challenges of growing up. In the third season, he clings to the activities and interests of childhood while watching his friends outgrow him and pursue romantic relationships.

Kate Bush's song "The Big Sky" is a soaring number that perfectly captures Will's longing for the more innocent days of childhood. The song's narrator recalls youthful pastimes like watching the clouds in the sky, regretful of how things have changed. Because of Will's traumatic experience of being lost in the Upside Down, he feels especially mournful of the lost time, and having stared at the terrifying silhouette of the Mindflayer in the sky, he must appreciate an innocent cloud more than anyone.

Wrapped in superstition, disguises, and deception, Kate Bush's hit single "Babooshka" is the kind of song Murray probably listens to on repeat. The song follows a paranoid wife who tests her husband's loyalty by sending him messages in the guise of a younger woman, Babooshka. The title is taken from the Russian word babushka, meaning "grandmother."

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Murray, who speaks fluent Russian and delights in employing disguises to infiltrate Russian operations, embodies the over-the-top theatrics of "Babooshka." Like the wife in the song, he's prone to hatching convoluted schemes, to varying degrees of success. Murray also establishes himself as highly intuitive about romantic pairings, so perhaps he could have given the song's narrator useful relationship advice.

Early in the first season of Stranger Things, Joyce establishes herself as a mother who will do anything for her kids, even try to make contact with another dimension. She accepts the truth of the supernatural goings-on in Hawkins and supports the kids in the battle against the monsters of the Upside Down, even if it means others judge her for it.

The Kate Bush song "Mother Stands for Comfort" tells the story of a mother willing to defend her child unconditionally, even though he has committed a terrible crime. While hopefully Joyce will never be called upon to defend her children against such accusations, a Stranger Things fan theory suggests that Vecna may try to control Will. If that's the case, there's no doubt that Joyce will stand by her son.

Jim Hopper has been through a huge amount of trauma and tragedy, from his service in Vietnam to the devastating loss of his daughter, Sara. By the time he finds himself imprisoned in a Russian gulag, Hopper is close to giving up all hope for the future. His devotion to Joyce and his surrogate daughter Eleven, however, is the spark that keeps Hopper striving to survive.

Inspired by Dorothea Lange's Dust Bowl photography, the Peter Gabriel/Kate Bush duet "Don't Give Up" is a moving tribute to perseverance in the face of insurmountable obstacles. Gabriel's words of despair and isolation are reminiscent of Hopper's emotional Season 4 monologue, Bush's soaring, reassuring chorus echoes the hope Joyce and Eleven provide.

The title track off Kate Bush's award-winning album, "Hounds of Love" describes the feelings of fear and loss of control that can come with falling in love. In the moody, catchy tune, the narrator compares such feelings to being pursued through the woods by a pack of dogs. In Hawkins, this fear might be literal, given the threat of the relentless Demodogs.

Mike claims to have fallen in love with Eleven the first time he saw her in the woods. Though his feelings are strong, and Will assures him that he's the "heart" of their adventure party, Mike fears that if he proclaims his love out loud, he'll end up getting hurt. Mike, like the narrator of "Hounds of Love," eventually finds the courage to admit how he feels.

Kate Bush's dreamy hit based on Emily Brontë's novel of the same name may not be an obvious comparison to Stranger Things' most powerful hero, Eleven, but there is some striking shared imagery between El's story and the song. "Wuthering Heights" is sung from the perspective of Catherine Earnshaw (Cathy), who appears as a ghost at the window of her lover, Heathcliff.

Stranger Things fans will remember Eleven's spectral appearance at Mike's window at the end of season 1, and how Mike is both encouraged and tormented by the idea that she survived the battle with the Demogorgon. Meanwhile, Eleven, like Cathy, often feels isolated, longing for her withholding partner to divulge his true feelings. Indeed, it's Mike's declaration of love that gives Eleven the boost she needs to take on Vecna.

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Laurel Hostak is a writer and media producer based in Philadelphia, PA. She is the co-host of The Midnight Myth Podcast, which examines popular culture from the lens of history, mythology, and philosophy. Laurel independently writes, produces, and hosts Sleep & Sorcery, a podcast featuring fantasy and folklore-inspired bedtime stories. She graduated from Drexel University with a degree in Screenwriting & Playwriting, and spent several years developing site-specific and interactive theatre experiences before moving into communications and audio production. Laurel is an alum of the Prague Summer Theatre School, where she studied puppetry and physical theatre. A lifelong fantasy nerd obsessed with Buffy the Vampire Slayer, Harry Potter, and Star Wars, Laurel is also a devoted student of medieval literature. Not a regular mom, but a cool mom.