411’s The Twilight Saga: Eclipse – Original Motion Picture Soundtrack Review

The Twilight Saga: Eclipse, The Official Soundtrack

1. “Eclipse (All Yours)” (Metric) – 3:38
2. “Neutron Star Collision (Love Is Forever)” (Muse) – 3:50
3. “Ours” (The Bravery) – 3:47
4. “Heavy in Your Arms” (Florence + the Machine) – 4:42
5. “My Love” (Sia) – 5:07
6. “Atlas” (Fanfarlo) – 3:23
7. “Chop and Change” (The Black Keys) – 2:21
8. “Rolling in on a Burning Tire” (The Dead Weather) – 3:53
9. “Let’s Get Lost ” (Beck and Bat for Lashes) – 4:07
10. “Jonathan Low” (Vampire Weekend) – 3:30
11. “With You in My Head” (UNKLE featuring The Black Angels) – 4:40
12. “A Million Miles an Hour” (Eastern Conference Champions) – 4:03
13. “Life on Earth” (Band of Horses) – 5:28
14. “What Part of Forever” (Cee-Lo Green) – 3:55
15.“Jacob’s Theme” (Howard Shore) – 2:27


The Twilight Saga Eclipse OST follows in post-2000 tradition of accompanying a major Hollywood blockbuster with a soundtrack comprised of big name artists with specially composed works (or unused B-sides). It sees the franchise tread carefully along credibility fault line; as they have opted for the classic Hollywood shill of going for big names bands, rather than a carefully composed artistic score. However, to compensate they have also made sure to pick cutting edge artists who are trendy but not wholly populist (see Florence + The Machine and Vampire Weekend). It’s certainly less exciting and creative than Nick Cave’s haunting score for The Road but it is a less shameless approach than cliché infested Watchmen OST. Some would argue that this approach is actually more cynical, as it feigns artistic intent while actually attempting to shill sub par works by association. Whatever your opinion, it’s certainly more interesting than hearing “All Along The Watch Tower” or “Sound Of Silence” for the one thousandth time.

It’s at this point I need to make one thing clear, I have not yet seen New Moon or Eclipse (I’ll watch them with my sister at Christmas) but I have seen the original Twilight. Usually I’d judge the sound track against the themes and subtexts of the motion picture (lust, tension, denial, angst, yearning, etc…) but as I haven’t seen the later movies I won’t just assume the film has the shame underlying tensions as the first. In fact if this sound track is anything to go by I’m guessing Eclipse is; the celebration of a love which is torn apart, temporarily, by external circumstances and devious third parties. Vaguely similar to the first film but rather than being a natural internal barrier there’s a strong external antagonist creating conflict. Anyway I’m probably wrong, but I simply wanted to make clear I’ll be assessing this OST purely on the music and not on how well it ties into the film, which admittedly is normally an important consideration.

The soundtrack can be grouped into two sections; the large atmospheric pieces designed to suit certain characters, landscapes or themes, and the bigger heavy hitting pop numbers, which are more obvious stand along singles. There is of course some middle ground, for example, a track like “Atlas” by Fanfarlo is an sweet little piece, containing charming pop melodies while also containing the kind of well layered instrumentation that could accompany any number of scenes or moods. It’s certainly not a world changing piece but it’s a pleasant enough track that may open some listener’s ears to textures and arrangements they would not have previously been familiar with.

The atmospheric and more classical soundtrack pieces, are a hit and miss bunch, largely lacking in originality. “My Love” by Sia, is case in point; a long drawn out ballad that recalls one of Enya’s many soundtrack appearances and draws obvious comparisons to Joanna Newsom, albeit devoid of her creativity and intrigue. It’s recycled thematically and is tragically uninspired, almost verging on cliché, yet it’s still a decent offering with a powerhouse vocal performance, that certainly feels labored, but never awful. “Jacob’s Theme” has similar failings, as an instrumental piece it’s always likely to fall into Hollywood cliché, but the sharp and sorrowful piano line that punctuates the piece manages to carry great enough resonance that you’ll be able to look past it’s overly familiar feel. UNKLE and Black Angels’ effort “With You In My Head” is far more effective; with a winding neurotic groove and a spacey, and quite frankly creeping spectral sound oscillating throughout. It’s a piece that builds tremendously and highlights why UNKLE was so beloved at the turn of the millennium. “With You In My Head” is not a classic by any means, but it’s a wonderfully structured, groovy and considered work.

The most notable and intriguing collaboration on this soundtrack is between Natasha Kahn of Bat For Lashes and alternative virtuoso Beck. I honestly wasn’t sure what to expect, as Beck, even in a creative rut, is always unpredictable, and Natasha Kahn for her part is more than capable of serving up a surprise or two. And True to form, “Lets Get Lost” is not what I expected; a marriage of industrial drum machines and brooding atmospherics with swirling synths and a defiant chant along chorus. It’s incredibly similar to Trent Reznor’s recent work with How To Destory Angels, but it’s arguably more interesting as the interplay between Beck and Kahn’s vocal has a real haunting quality. Combining the typically British paganistic spirituality of Kahn with Beck’s distinctly American brand of haunting disenfranchisement. We’ve heard these theme’s explored thoroughly over the last ten years, but hearing the two cult favourites combine gives this track that little something extra.

Now that the atmospherics are out the way we can turn our attention to the more obvious pop numbers, and it’s certainly a mixed bag. “Neutron Star Collision (Love Is Forever)” is a classic piece of post-Resistance smultz from Matt Bellamy; that relies heavily on stadium anthemics and desperately lacks originality or restraint, despite the presence of Butch Vig on production. It’s another worrying sign that Muse are falling more into Queen-eske self parody; but fear not, like Queen even at their silliest Muse still managed to create infectious little sing-a-longs and “Neutron Star Collision” is no exception. Vampire Weekend on the other hand continue to prove that they are the master of making sublime pop music. “Jonathan Low” ditches their usual calypso sound and instead opts for more traditional British folk sounds melded with contemporary US psychedelia; the result is moving, uplifting and utterly charming.

Florence + The Machine offer up “Heavy In Your Arms” a track that could easily have slipped onto Lungs and may have actually improved that record. While the chorus relies on overwrought atmospherics the verse is utterly thrilling with some enticing imagery;

“I Was A Heavy Heart To Carry, My Beloved Was Weighed Down, My Arms Around His Neck…I Was A Heavy Heart To Carry, He Took Me To The River, Where He Slowly Let Me Drown, My Love Has Concrete Feet”.

It’s not Florence’s best work, but as an atmospheric piece for what is basically a dark romance movie, it’s a triumph. Now while Florence Welch crafted a unique an fitting piece it seems that Metric and Bravery threw out two rather cookie cutter offerings. “Ours” is a dreadful cringe inducing piece that is so inane and cliché it will likely appeal to many out of sheer brain dead familiarity. Whereas Metric’s “Eclipse (All Yours)” circums to many of the same failings, most notably it’s own saccharine sickliness, it still manages to muster together enough charm to be considered passable at best.

Elsewhere The Black Key’s provide a suitably groovy number ,“Chop and Change”, which plays to their strengths admirably despite feeling distinctly inessential; yet it still serves as an accessible introduction to a legion of potential new admirers. “Rolling On A Burning Tree” on the other hand, is not The Dead Weather’s best and feels like a lazy attempt at late-period Door’s blues. The little know Eastern Conference Champions try to make the most of their opportunity with the largely satisfying “Million Miles And Hour”, whereas Band Of Horses squander the same opportunity by delivering a track so indebted to The Flaming Lips it hardly warrants mentioning.

Cee Lo Green’s “What Part Of Forever” feels like a natural track with which to conclude this review; after all it contains all the hallmarks of the OST as a whole. It’s a brand new track, it’s not a world changer, it’s certainly agreeable despite lacking originality and it has vaguely atmospheric and expansive feel. Now there is definitely deviation on this LP; some tracks like The Bravery’s “Ours” are completely uninteresting and certain tracks like Vampire Weekend’s “Jonathan Low” are sublime and potentially infectious singles, but for the most part, the majority of tracks on this OST fall somewhere in between these two extremes. Therefore The Twilight Saga Eclipse OST is a collection of solid album tracks, better than filler, but largely devoid of standout works. If your a Twilight fan, or are just intrigued to hear some new music from a collection of talented artists then this OST is worth a try; but it is deserving of no stronger recommendation than that.

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