Wednesday, November 14, 2012

You May Have Twilight, but You Gotta Love the Music

It's Be-a-Twihard-One-Last-Time at SFF. This week shall a) analyze the books, b) remember the films, c) talk about the soundtracks, and d) fangirl all over the place.

 Today I'm going to talk about the best thing about those sparkly Twilight movies - the music. But mostly the first soundtrack (don't get me wrong, I love New Moon's "Possibility" and how Breaking Dawn has BRUNO FRIGGIN' MARS). Anyhow.

The first Twilight soundtrack/score set the quota: a nonsensical/awesome mixture of indie darlings and pop/rock modern icons. They managed to score a lot of big names on their first soundtrack - Linkin Park's "Leave Out All the Rest" or Mutemath's "Spotlight". Paramore got two tracks, since Hayley Williams was a fan, with the woeful "I Caught Myself" and hit rocker "Decode".

Muse also provided the baseball scene music, "Supermassive Black Hole", only a short time before "Uprising" properly introduced them the Brits to American rock fans. Thanks to author Stephenie Meyer's obsession with the band (they even got in the dedications!), a Muse song landed on pretty much every OST after that.

The score is unique too. It had a good number of guitar/rock music, not just the typical orchestra music. Carter Burwell had fun with the landmark scenes like "I Know What You Are" and "Showdown in the Ballet Studio", but added a flavor of emotion to each scene whether it be confusion or anger or happiness.

He also had the honor of scoring "Bella's Lullaby". The track may have gone on to be the background music for a'many poorly made Twihard fan videos. But it is memorable enough both it and Iron + Wine's "American Mouth" returned in the Breaking Dawn Pt. 1 soundtracks. Pretty neat, right?

The best part about the Twilight soundtrack/score though? Why even Robert Pattinson got to do a song.

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