The Twilight Sad New Album

[Keith Cogswell]

Thesoundtrack was chosen by music supervisor Alexandra Patsavas;[4] while the score, Twilight: The Score, was composed by Carter Burwell.[5] The soundtrack album was released by Patsavas' Chop Shop label in conjunction with Atlantic Records.[6] It debuted at #1 on the Billboard 200, having sold about 165,000 copies in its first week of release, 29% of which were digital downloads.[7] Twilight: The Score was made available for digital download on November 25, 2008, and the album was released to stores on December 9, 2008.[8]

Twilight is the best-selling theatrical movie soundtrack in the United States since Chicago.[9] Both the soundtrack and the lead single, "Decode" by Paramore, were nominated for the 2010 Grammy Awards.[10]

Director Catherine Hardwicke revealed in an interview with MTV that a song by alternative rock band Muse, later revealed to be "Supermassive Black Hole", would be included on the film's soundtrack.[11] The soundtrack includes two songs by Paramore,[6] a new song by Mutemath, and an original song for the film by Perry Farrell.[12] "Flightless Bird, American Mouth" by Iron & Wine was chosen for inclusion in the movie by actress Kristen Stewart, who plays Bella Swan.[13] The soundtrack won a 2009 American Music Award for Favorite Soundtrack.[14]

The CD booklet on the physical CD folds out into one of four Twilight posters.[15] Hot Topic locations across the United States hosted exclusive Twilight soundtrack listening parties on October 24.[16] Albums bought at Borders bookstores feature an acoustic version of Paramore's "Decode".[17] Summit Entertainment provided a free remix of "Bella's Lullaby" through iTunes, with the purchase of a Twilight theatre ticket through online ticket services Fandango or MovieTickets.com.[18]

The soundtrack peaked at number one in New Zealand on February 9, 2009, and has been certified platinum, selling over 15,000 copies.[31][32] The album has been certified gold in Mexico, selling over 50,000 copies.[33][34]

Carter Burwell composed and orchestrated the score for Twilight over a 9- to 10-week period, and it was recorded and mixed in about 2 weeks in late September 2008.[84] He began the score with a "Love Theme" for Bella and Edward's relationship, a variation of which became "Bella's Lullaby" that Robert Pattinson plays in the film and that is included on the Twilight Original Motion Picture Soundtrack.[84] The original theme is featured throughout the film, and serves to "play the romance that drives the story".[84] Another theme Burwell composed was a "Predator Theme", which opens the film, and is intended to play Edward's vampire nature.[84] Other themes include a bass-line, drum beat and distorted guitar sound for the nomadic vampires, and a melody for the Cullen family.[84] Twilight: The Score was released digitally on November 25, 2008, and in stores on December 9.[8] The score album had sold 218,000 copies in the United States as of June 2010.[85]

The album itself is melodic, emotional, and perfectly captures the human struggles of identity and belongingness. The lyrics of every song are as deep as they are beautiful and each track makes for a meaningful listen.

The transition from Celestial Signal into the bombastic title track is flawless. It could quite easily be a theme tune for a superhero show. There is the right amount of power and might withing this track with a slower part to allow time to reflect.

EDGUY come strongly to mind when I listen to Children Of The Atom. This could be down to the fact that Phil Butler could very easily be the vocal love child of Tobias Sammet. I sense mosh pits breaking out to this track.

Twilight Knights is a mighty escapade. PECTORA are rising stars for sure, and this album is solid proof. If you like the sound of the single releases and any of the bands mentioned here, give them a spin and join their brigade.

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The eight-track project is a departure from Jeremy's previous, up-tempo releases. 'Fugue in Twilight' is slow-moving and reflective; created free of ego, comparison, chasing and striving. It's a compelling and cinematic body of work that will cement Croquet Club's reputation as a gifted, authentic and unique electronic music producer.

Jeremy started working on 'Fugue in Twilight' in early 2022. After so much time away from the Croquet Club project, he felt the pressure was off and expectations had dissipated. As he re-entered his studio and captured threads of ideas, he felt ready to return to the Croquet Club project for the right reasons; the ones he started with in the first place.

Jeremy treated his process delicately. Every day before he entered the studio, he meditated for close to an hour to turn inwards and reach a non-judgemental state of consciousness. This became a crucial part of the songwriting process.He then channelled that energy into his creative process. "I'd get down to the studio, turn on the synthesiser or pick up the guitar, and start to play. And most of the time, I'd just play and nothing would happen. And sometimes something happened, and I'd record it." He did this for about two months, saving threads of ideas, and reviewed everything all at once to see what had potential. "And then I made choices," Jeremy says. "I deleted stuff, I kept some stuff, and when I had a batch of nice ideas, I worked an extra day on each one of them."

This meticulous, self-assured and heartfelt process is what makes up the new album 'Fugue In Twilight'. The authenticity and purity seeps through every note, key and melody, pouring from one heart to another. The first single on the album is 'Slowly', about the human need for love, solace and intimacy. Jeremy layers his own vocals with hazy keys and nostalgic guitar, alongside lyrics about solitude and our relationship with ourselves.

Jeremy recorded the entire album as if it were live, playing every instrument himself without any loops. "It took a long time," he says. "I had to write the music, write the lyrics, rehearse every instrument, record each part one by one, then mix it myself."

Jeremy did it all himself for the experience. "It was like crossing the Atlantic Ocean on a rowing boat," he says. "I could take the ferry, I could take the plane, but I chose to challenge myself and see how far I can go."

Dead Rhetoric: At the Heart of Wintervale is the fourth studio album for Twilight Force. What did you want to achieve with the record in terms of performances and songwriting that expands or differs from the already established discography for the group?

Dead Rhetoric: Where do you see your major role as keyboardist and orchestrator within the Twilight Force framework? Has it been even more of a challenge album to album to get all the elements you want within the songs without overwhelming the sonic landscape or the listener?

Dead Rhetoric: You have an upcoming headlining European tour with Silver Bullet and Seven Spires as openers. What are your expectations for these shows, do you believe the fans are very excited about taking in these shows given the long break due the pandemic for regular touring activities?

Dead Rhetoric: Where do you see the importance of assembling the right management, booking agency, record label, and outside supporters in developing the career of Twilight Force? Are there certain aspects you feel more comfortable taking care of within the membership of the band?

Dead Rhetoric: Where do you see the state of heavy metal on a global scale? And what do you see as some of the biggest challenges in keeping the scene healthy and strong over the next three to five years?

Dead Rhetoric: How do you see the next year or so shaping up for Twilight Force to support this record? What are some of the goals that you would like to achieve over the coming years?

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