popwreckoning

Reviewing this album is bittersweet for me. For one thing, I hate all the hullabaloo that Twilight has brought along with it. It’s taken over so much of the media lately, and I’ve been sick of it since it started. When I saw the list of artists that were contributing to the Twilight Saga: New Moon soundtrack, my heart sank. Not because they were bad, but because they were oh so good, and the fact that they’d jumped on the Twilight bandwagon irked me so much. Secretly, I was hoping that the soundtrack was really really bad.

But I was proven wrong, because it’s so good.

Like, really good.

As of right now, I’m separating the soundtrack from the film, because the soundtrack will surpass the quality of the film no doubt. And I’ll take you through Alexandra Patsavas’ musical masterpiece piece by piece, as it’s the only way I can do it justice.

1. Death Cab for Cutie – “Meet Me On The Equinox”

As far as a Death Cab song, when I first heard this I was a little underwhelmed. But I think they’ve mixed it differently for the final soundtrack, so it’s grown on me a bit. Sure, the hook is a little generic for a Death Cab for Cutie song, but as far as a catchy single to start off the soundtrack, it works really well.

2. Band of Skulls – “Friends”

Track two had a completely different vibe as the songs surrounding it – as it’s more upbeat, and provides a lightness that the soundtrack otherwise doesn’t have. It’s the first of a few very raw sounding tracks on this album, which is something you didn’t get from the first film’s soundtrack. “Friends” isn’t a huge song, but it’s a nice departure from the other big songs on the record.

3. Thom Yorke – “Hearing Damage”

This was the one track I was dying to hear, as I’ve been a huge Radiohead fan for a long time, and it’s hard to criticize Thom Yorke for anything. And yet again, like the song says, Thom, “You can do no wrong… in my eyes.” A great throwback to Eraser from a few years ago, “Hearing Damage” is a dreamy electro track full of ominous synthesizers and tricky drums.

4. Lykke Li – “Possibility”

When I heard that Lykke Li would be contributing a song, I was expecting something similar to “I’m Good, I’m Gone,” for a less intense part of the movie, maybe when Bella isn’t seeing Edward in her head, but this slow ballad is so beautiful. It almost reminded me of “Lover’s Spit” by Broken Social Scene, with the heavy constant piano chord and lo-fi sound.

5. The Killers – “A White Demon Love Song”

This was the only song that didn’t seem to fit so perfectly with the rest of the soundtrack, but that could be the context The Killers bring with them, but I totally dig it as a Killers song. It goes back to Brandon Flowers’ natural crooning vocals without any of the frantic energy he seems to have adopted with Day and Age.

6. Anya Marina – “Satellite Heart”

To tell you the truth, the opening hook to this song sounds so much like another of Marina’s songs “Move You.” But then again, Alexandra Patsavas is also the music supervisor for “Grey’s Anatomy,” which is where I heard “Move You.” But as “Satellite Heart” moves through its verses and choruses, it gets bigger and draws you in more. The violin additions towards the end gave me goosebumps too.

7. Muse – “I Belong To You”

The original version could have easily gone in this version’s place. The remixing didn’t make it any better, nor did it necessarily make it any worse. This is by far the peppiest song on the record, which may mean something that it’s right in the middle. I don’t know, but this song didn’t wow me so much now, mostly because I’ve listened to it so many times since The Resistance came out last month.

8. Bon Iver & St. Vincent – “Rosyln”

Let me tell you, Justin Vernon’s vocals layered with Annie Clark’s and mixed with the understated acoustic guitar and banjo made for the best song on the record. By far. I could listen to it all day. It’s just…wow.

9. Black Rebel Motorcycle Club – “Done All Wrong”

BRMC’s distinctly lo-fi sound here works exquisitely, with the hints of southern rock and blues adds a different kind of sadness to the record, which up until now has lacked the depth that blues can bring. And what’s so ironic is that BRMC was on the season one soundtrack to “True Blood,” another bit of vampire fare.

10. Hurricane Bells – “Monsters”

Similar to “Friends,” “Monsters” is very much an upbeat song, with a hint of hopefulness. As a heavy movie watcher, I think “Monsters” almost sounds like one of those songs that editors layer over a montage, but not a cheesy one. Not quite filler, but not quite a stand-out, “Monsters” is one of the middle-of-the-road songs on the soundtrack.

11. Sea Wolf – “The Violet Hour”

The second happy song in a row, “The Violet Hour” is so dancey you wonder what’s happening in the story where they play this song. It also emphasizes the vocal theme throughout the record – quieter, smaller vocals – which is different from the first soundtrack with Paramore’s Haley Williams’ loud rock-chick vibe and Chester Bennington’s raw shriek.

12. OK Go – “Shooting the Moon”

A typical OK Go song, with Damian Kulash’s soft, dreamy crooning, “Shooting the Moon” is another lighter song on the record. But what makes this song even better is the stark contrast that comes in the last minute of the song with heavy bass and strong distorted guitar riffs.

13. Grizzly Bear – “Slow Life”

Coming off an amazing record, Veckatimest, Grizzly Bear doesn’t lose any of their authentic sound here with the intentionally droning vocals from Beach House’s Victoria Legrand adding to the ominous, woodsy feel of Grizzly Bear’s music. As the song goes on, it builds to the climax which makes it fit perfectly on the soundtrack.

14. Editors – “No Sound But The Wind”

In tandem with their latest release, this marks the beginning of a new period for Editors, losing the heavy Interpol parallels and moving into a rawer, anthemic sound. “No Sound But The Wind” essentially finishes out the record in terms of rock songs, and it is the perfect ending in terms of emotion.

15. Alexander Desplat – “New Moon (The Meadow)”

It’s hard to talk about a classical song in the context of an otherwise indie rock soundtrack, but by itself, this song makes me actually kind of excited to hear the full score. It’s not too long, yet not too short, to give us just the right amount of classical to actually finish off the album.

This went on very long apparently, but hopefully it enlightened you to how awesome this soundtrack is. It moves fluidly through different emotions and different keys it sounds like one of those great mix CDs that you made for your significant other when you were going through a “rough patch.” Even if you hate everything Twilight, give the soundtrack a chance. You won’t be disappointed.

The soundtrack release date has been moved up and will be available Friday, Oct. 16.

New Moon: soundtrack site

Lessons learned from Day 1‘s crash course in surviving Bonnaroo, but not so well-rested (it is hard sleeping in a muggy tent in the Tennessee weather), we awoke early to check out the first real day of Bonnaroo. Thursday was like practice Bonnaroo, which turned out to be much needed for Friday’s and the rest of the weekend’s adventures.

One nice thing about the artists at Bonnaroo is that they are very accessible. So instead of running off to see bands perform on stages first thing Friday morning, I took some time to sit in on a press conference that Big Hassle Media organized with Janeane Garofalo, Matthew Vasquez of the Delta Spirit, Grace Potter, Ani DiFranco, and Galactic Band. The artists spoke about their Bonnaroo experiences and struggles to get there. Things got a little heated between Garofalo and DiFranco. At the start of the conference, Garofalo and DiFranco joked how they looked alike with Garofalo reminding DiFranco to be at her set in the comedy tent at 2 pm. However, when things got a little political, the differences between the two came out:

“It’s so heartbreakingly disappointing how Obama has acquiesced in the name of bipartisanship,” Garofalo said. “I can’t find humor in that.”

DiFranco later said, “I don’t think one person can do everything. It takes all of us to make something radical happen.” She said Obama shows us how to be like “family and forgive.”

The two had their different opinions, but at the end of the conference, they hugged.

Leaving the press conference, a large crowd had gathered for Gomez‘s pop rock and audience members got extra excited when they realized that, “OMG! That song was on Grey’s Anatomy” as the band played “Moon and Sun.”

Over at This Tent, Kaki King impressed the crowd in her own way as her fingers flew across her guitar in blend of pressing and tapping on the strings.  Her backing band complimented her well with the typical drums and bass, but also some wind instruments on the occasional tune.

After Kaki King, Animal Collective got the crowd dancing at Which Stage. The audience danced as if they really were a collection of wild animals (the many masks probably helped, too). Arms flailing in dance, while singing along, some in masks, Animal Collective had some solid fan representation at the fest. The guys bounced around vocal and instrumental duties between each other and never had a dull moment in their set.

Playing against Animal Collective was the amazingly talented St. Vincent and she was probably one of the best secrets of the festival. There was a good crowd there, but if she hadn’t been up against Animal Collective, I think more would have discovered her greatness. She is like a feistier Feist. The indie darling’s powerful voice carried out far beyond the reaches of That Tent and instrumental solos from her violinist colored me impressed.

Another press conference was next on the agenda. This time, Julia Nunes, John Gourley from Portugal the Man, Kaki King, Justin Vernon of Bon Iver, Lucinda Williams, Justin Townes Earle and Ben Knox Miller from Low Anthem were the ones to join the press. Justin Vernon turned out to be quite the comedian. After Kaki King said the most challenging part of an outdoor festival were the “strings and sweatiness on the guitar,” Vernon said, “Sweatiness is what I’m going for. I’m trying to look as wet as possible.”

Several members of this conference were new to the festival and talked of their nervousness and experience, the legendary Lucinda Williams spoke of playing this festival since its second run and even gave her advice about the music industry.

“Can you imagine Neil Young trying to get a record deal right now? Or even Bob Dylan?” Williams said. “You have to believe in yourself. I was doing this without a label for 15 years. It took an English punk label to sign me because I fell in the cracks between rock and country.”

As the conference let out, Karen O of the Yeah Yeah Yeahs was starting her signature vocals on the Which Stage in front of a backdrop of blue swirl and the eye from “Zero.” We could hear her vocals the entire walk to Brooklyn very own Grizzly Bear on This Tent. The boys were running a bit late, but their indie rock soon filled the tent and they were quite tight, but we had passes to the comedy tent and had to get over there in time for Triumph the Insult Dog and other comedians. After a jam from the house band and a video introduction, Triumph was soon slinging the insults at everyone from the audience to the artists.

“You hippies can make anything out of hemp,” Triumph said. “Except deodorant.” With a paw over his face he explained, “You see? It is because you smell. Haha.”

He attacked Trent Reznor for ending his career and Flava Flav for setting back the civil rights movement with his clock. Even bands not at the festival weren’t safe from his insults.

“Not everybody could be here. Fall Out Boy couldn’t be here today,” said Triumph. “Because they all got their periods at the exact same time.”

After breaking ourselves away from the funny (and she swears unracist) comedian, Amy Schumer, we dashed back to the Which Stage (there is a lot of running at Bonnaroo) and watched TV on the Radio blast through “Wolf Like Me” and other hits. As always, the element of brass gave these guys an extra special element that made them worth watching.

Taking a breather before rocking out (err….rapping out with Beastie Boys), I had my first taste of true fest food and ventured to try an “arepa.” For those who were in the dark like I was, an arepa is a fried patty of corn with melted mozzarella in between the patties. Ridiculously greasy and ridiculously delicious. Stomach full at last, I somehow managed to work my way up nice and close to see the Beastie Boys who brought out all the hits and some guests. In the first big Bonnaroo surprise Nas joined the guys for a few numbers.

The Beastie Boys were a blast to “Jump, jump, jump around” with, but I couldn’t miss the chance to catch a Talking Head perform. Across the park, David Byrne was rocking out with his own tunes after a busy day of curating some of the other tents.

Phish jammed out at the What Stage after the Beasties finished, but knowing they had a second performance, I snagged a spot up close for the much buzzed about French band Phoenix. “Lisztomania” started things off and I was surprised with how energetic and bold the band was after seeing them acting rather shy back in the press area. It wasn’t long before other hits off their American debut had the crowd dancing and the singer joined them out in the audience.

They were just the start of a crazy night at That Tent. Alice Glass from Crystal Castles had the crowd rapt with her blend of electronica goth. In a zombie like manner she wrapped a strobe around her neck and jumped on the crowd multiple times. Glow sticks began to appear during this set and That Tent was quickly transformed into a rave. They didn’t disappear until well after Girl Talk‘s performance. Instead of jumping on the crowd like their predecessors in That Tent, Girl Talk brought the crowd up on stage to join in the dance party. The DJs were joined by costumed characters and blow up seats. It was an oraganized chaos that was fun for everyone (except maybe security). Girl Talk’s set lasted well into the night, but even they couldn’t keep up with Paul Oakenfold‘s set, which didn’t stop until after 6 am in the morning. People staggered back to camps or just passed out in the main grounds before they were ready to embrace an even bigger Day 3 of Bonnaroo.

Stay tuned…

Bonnaroo: website | Day 1 | Quick News

Photos by: Joshua Hammond

During a recent radio interview with Australia’s Triple J, Bon Iver’s Justin Vernon debuted a beautiful cover of Feist’s The Park.

The Park – Bon Iver