"New Moon" and Still Moonlighting

Who better to write a book about blood sucking vampires from the north-west than an eccentric transplanted Mormon? In another vein, who better to represent a harrowing deadly fictional romance, which takes place in Seattle, than Seattle’s own, Seattle’s best? No, it is not the dehydrating capitalist money rakes, with their alluring 15^th century Siren logo. It’s that other symbol of possessive love and melancholy hopelessness that pulls on your heart-strings, which are undoubtedly attached to your pocket books.

Though the “New Moon” soundtrack is star studded it sold less than its prequel, paling to the pasty Marshal Mathers whose “8 Mile” blathering sold over 700, 000 units in its first week. Death Cab for Cutie bassist, Nick Harmer, even admits to getting “celestial” in their fourth musical release since formulating with Atlantic Records in 2004. The Seattle Native band was undoubtedly requisitioned for a piece after the first less than popular Twilight soundtrack attempt, which even included some of the books author’s quoted favorites such as Muse and Linkin Park. Both Twilight soundtracks and the original score fell considerably below even “Sleepless in Seattle”, a movie about normal nocturnal star crossed lovers.

It is difficult with lines about lying beside your lover, intertwining body parts and open doors to discern whether this is reiteration of spirit meets body or a direct attempt to target the market of throbbing teenage members who follow in cult fantasy. Yet how would the fans react to dear Edward using his bounding abilities to sweep his sweetheart to this ideally romantic location; somewhere over the equator, during the most opposed proposed opportunity; the middle of the day, when the sun has reached its peak? Poof! In the cloud of dust we can hear the voice of Bella Dawn as she and Renesmee orate the final chapters of “Breaking Dawn”. Perhaps that is why it will go unwritten. How much can you really close on “Poof! Fuck! Poof again!”

The idea of the meeting at an equinox or things being of equal proportions then eventually ceasing to exist, though mildly entertaining, is morbid at best, regardless of how apropos it may compare to modern day marriage. Unfortunately during Ben Gibbard’s orbiting he gives a regurgitation of what is already cleverly written in previously cherished songs. For example the premise of this song, “everything ends” which is shamelessly revealed in the refrain is what listeners enjoyed understanding after several times of hearing “What Sarah Said”. The rest that follows in the song; turning over rocks, bubbles popping and all of that nonsense sadly sums up what appeared to be the inspiration for “Narrow Stairs”, without Gibbard being reduced to the company of a talking bird. Whatever though, right? It is a soundtrack. It is important to open your doors to a wider audience who may not understand verbal ques like “no you’re not a Vampire” or “no, really, you’re not a vampire”.

If all things come to an end and anything must be said, just hope this marks the near end of Death Cab spacing out and return from moonlighting with a smart and confusing rondo-view of parenthood, possibly with the sweet chiding vocals of Zooey Dechanel. With possibly two more movies to complete the saga, fans are going to need something to sink their teeth into; after all they’ve been warned against eternal life.

“New Moon” Soundtrack Review

New blood beware! Those of you listeners who are not already aware of the outrageously successful adolescent vampire romance of the Twilight saga, might get sucked in by the tasty samples of popular artists featured on the “New Moon” soundtrack. Nearly matching last year’s sales of its predecessor at 164,700 copies in the first week, this latest installment features Seattle native Death Cab for Cutie, England’s enigmatic Tom Yorke and Muse plus a surplus of mellow rising and seasoned indie artists including St. Vincent, Lykke Li and Grizzly Bear. Though the album contains elements of dark nature like “white demon love songs in her dreams”- The Killers, “tell me when you hear my heart stop” and “everything ends” the well placed upbeat additions of The Strokes sounding Hurricane Bells or the bright acoustic Edwyn Collins-esk Sea Wolf makes it nearly irresistible to bop along to an inevitably eternal happy ending for teens and adults alike.

The album begins with “Meet Me on the Equinox” by Death Cab for Cutie. According to the bands bassist, Nick Harmer, this song was written to “reflect the celestial themes and motifs that run throughout the Twilight series". For long-time Death Cab fans hearing lines about lying beside your lover, intertwining body parts and open doors it is difficult to discern whether this is reiteration of spirit meeting body or a direct attempt to target the market of throbbing teenage members who follow in cult fantasy.

The next track is a college band from Southampton, England, previously known as Fleeing New York, which offers three chord fuzz backing Russell Marsden’s intelligible lyrics about his presumably “beautiful friends”. They are now known as Band of Skulls. This could be their big break or fifteen minutes following their 2009 debut album released exclusively online titled, Baby Darling Doll Face Honey.

“Hearing Damage” by Thom Yorke is not unlike previous solo material such as The Eraser (2006). Yorke. It delivers the first of a mellow beat that will remain consistent throughout the album. Though different, that he uses uplifting electronics while chiding that “you can do no wrong in my eyes”.

After the fourth track the cadence of the album is set. “Possibility” by Lykke Li which begins with a slow indie folk innocence similar to CocoRosie and utilizes intermittent industrial sound effects like a departing train to build into a yearning chorus. The calm nearly hymnal addition from this Swedish born performer is exhibiting devotion to craft and captures the gloaming essence.

“I Belong to You (New Moon Remix) by Muse. If you were drifting off on the last track the returning English rock band featured in the Twilight soundtrack pulls you back with the psychedelic wavering wah and surf whammy, clapping, shakers, falsetto background vocals and a woodwind solo.

Other contributing artists include: Anya Marina, Bon Iver, Black Rebel Motorcycle Club, Editors and OK Go. As before there is only one instrumental piece by Alexandre Desplat –“New Moon (The Meadow)”