Детали релиза : VA - The Twilight Saga: New Moon / Сумерки: Новолуние (2009) [FLAC (tracks + .cue)]

"Twilight" has gone arty. Or at least its soundtrack has.

The music for the latest mash-note to super-cute Vampires has transformed with the swiftness and drama of a werewolf at the rising of the moon.

The first "Twilight" CD played it safe by featuring garden variety emo, metal, and pop acts (Paramore, Linkin Park, and Collective Soul, respectively). But the "New Moon" sequel opts for something more daring and shadowy, with material that prowls the netherworlds of freak-folk and indie-rock.

Cult acts like Bon Iver, Lykke Li, and Grizzly Bear rule. A few better known names do turn up, including Death Cab For Cutie, Radiohead's Thom Yorke, and even the Killers. But their music all honors the stranger, slower, moodier tone of this second installment of the smash series.

Moreover, all the bands hold to the same dark views of love - as a danger, a kink, and a pact that straddles life and death.

"Meet me on the equinox," sings Ben Gibbard of Death Cab For Cutie, with an alluring sense of threat. "But always understand that everything, everything ends."

"Peak into the darkness where I hide," echoes the singer of Hurricane Bells over an incongruous new wave beat. "Where the sun don't shine/the monsters are buried deep inside."

To marry the series' outsider point of view to bands-on-the-edge took guts. The first "Twilight" CD proved a blockbuster (at least by today's diminished standards), moving 2.2 million albums and going No. 1. So "Twilight"'s music supervisors easily could have played it safe this time. Kudos to them for refusing to.

The eccentric stars Bon Iver and St. Vincent , who bond on the track "Roslyn," sound like ghosts themselves, while the emerging singer Lykee Li channels her freaky inner child in her vocals, then contrasts that with a holy choir to create a whole new subgenre: gospel-goth.

Even groups known for more rousing material, like The Killers and Black Rebel Motorcycle Club, offer something more shrouded this time. The latter's dusty ballad "Done All Wrong," makes wry comment on the vampire's legacy of evil ("if you've done wrong/you can rest assured you'll live quite long"). In The Killers' delicate "White Demon Love Song" they speak for the heroine, who pines for the "selfish kiss" of the hero's bite, nailing the series' brilliant twist.

Instead of the classic vampire scenario - in which a harrowing beast stalks a cowering female - here it's the other way around. She pesters him, hoping with all her heart to be devoured and, so, transformed.

That's cat-nip for romantic teen girls - aided by the perverse allure of seeking a doomed love object. But only the second "Twilight" CD has dared to mimic the arc of the series' plot. Here the music itself lures girls into a "forbidden" world, one that's difficult, eccentric, and - to smash the mainstream's biggest taboo - smart.