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• BREAKING DAWN PART 1 SOUNDTRACK PUBLISHER SERIES

Despite the limp conclusion, this serves as another worthwhile entry into the Twilight Saga's soundtrack series.

Despite the talent involved, the husky whisper of Aqualung and the tender tenor of Schwartz go together like oil and water, with the slowly plodding tune falling terribly flat. Carter Burwell's aimless instrumental "Love Death Birth" and the sleepy "Llovera" from Mia Maestro are bland listens that have the unfortunate job of following the methodically picked acoustic "Requiem On Water" from Imperial Mammoth, conceivably picked for the male/female aesthetic, and the wasted "Cold" from Aqualung & Lucy Schwartz. The album would actually be better off if it ended here, rather than droning on with another four sleepy tracks. The original version showed up on the first film's soundtrack, but the Sam Beam tune lives up to the promise of the 'wedding version' with a gorgeous string fuelled ballad that could easily become a new wedding favorite for the Twilight crowd. They are fine romantic listens, but pale in comparison to Iron & Wine's "Flightless Bird, American Mouth (Wedding Version)". The plucky shuffling beat and finger picked guitar behind sweeping strings on Angus & Julia Stone's "Love Will Take You" serve as a more mellow, harmonized listen, as does the tender, orchestra-laced balladry of Sleeping At Last's "Turning Page". The playful piano rock swagger and addictive hook of The Belle Brigade's sultry "I Didn't Mean It", the slithering blues kissed rock of Noisettes' "Sister Rosetta", and the bristling riffs and soulful, aching vocals of The Features' vibrant celebration of love on "From Now On" give you plenty of booty shaking rock to balance out the album's more restrained selections. The band saves the fuzzed out guitar eruption for the song's midpoint, leaving Bryan's hushed vocals moving along with a grumbling synth that does not quite prepare the uninitiated for the kind of towering rock assault found on their debut. The album mostly falls in line with the indie sensibilities of the previous soundtracks, with Welsh trio The Joy Formidable opening the set with a pounding beat and rumbling bass groove to accompany Ritzy Bryan's reverberating vocals on "Endtapes". The piano and acoustic guitar drizzling through her sweet, sturdy proclamations of love are joined by the occasional male vocal popping in and out to lend harmony to the likeable love song. New pop princess, Christina Perri delivers the best of the attempts to rope in the pop crowd on "A Thousand Years". Cider Sky's "Northern Lights" feels like a slightly more polished Owl City, with its xylophone and chimes twinkling through the electrified hum of bass behind the sweet male/female harmony. When the track stumbles into a strange bossa nova stomp, things dissolve into a clunky tropical storm. Genre-bending Brooklyn rapper, Theophilus London's "Neighbors" features beat crackling with energy, but it ultimately feels like a more cluttered, less effective, "I Stand Alone". Soul crooner, Bruno Mars delivers a sweet, raspy melody over a smattering of bongo beats and strings on "It Will Rain", as he begs his girl not to leave him. This time around, the album infuses a bit of pop into the mix to change things up a from the last few albums' heavy indie rock slant. As the romantic drama surrounding a vapid girl picking between a glittery vampire and a shirtless werewolf prepares to come to a head on the big screen, the series' sonic accompaniment leans heavily on male/female harmonies for its latest effort.

BREAKING DAWN PART 1 SOUNDTRACK PUBLISHER SERIES

Regardless of how awful you find the films and books, the Twilight series has at least done a solid job with its soundtracks.