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"The Twilight Saga: New Moon (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

How do you soundtrack a romance that chooses absence as its engine? New Moon answers with restraint: piano laments, haunted folk, and autumnal rock. The album pivots the series from glossy teen pop toward curated indie — a cooler temperature that matches Bella’s isolation and the film’s longer shadows.

Story: Edward leaves; Bella folds inward; Jacob steps in; the Volturi loom. The music maps that arc with clear phases — arrival (sweetness on the edge of dread), adaptation (months of quiet), rebellion (reckless surge, engines and bass), collapse (austere ballads), and the final reckoning (Desplat’s strings, fatalistic and tender).

Distinctives: every song was commissioned or newly contributed for the soundtrack cycle; the score is by Alexandre Desplat, the needle-drops selected and album produced by music supervisor Alexandra Patsavas. As reported at the time, the brief to artists skewed toward hushed, intimate writing to fit loss and memory.

How It Was Made

Director Chris Weitz replaced the first film’s composer with Alexandre Desplat (London Symphony Orchestra), whose lyrical motifs — especially “New Moon (The Meadow)” — bind Edward/Bella memory to place. Alexandra Patsavas built the companion album on exclusives: Death Cab for Cutie delivered the lead single “Meet Me on the Equinox”; Thom Yorke turned in “Hearing Damage”; Bon Iver & St. Vincent wrote “Rosyln”; Muse reworked “I Belong to You (New Moon Remix).” According to Pitchfork’s contemporaneous reporting, the brief leaned darker and more indie than the first film.

Release: Chop Shop / Atlantic issued the soundtrack in October 2009; Desplat’s New Moon (The Score) followed as a separate album. The soundtrack’s sequencing tells the film in miniature — a rare case where the retail order mirrors the emotional chronology rather than pure hits-first ordering.

Tracks & Scenes

Not a full tracklist. Key placements with scene-function detail:

“Meet Me on the Equinox” — Death Cab for Cutie
Where it plays: End-credits anchor, wrapping the Italy/Volturi climax and the uneasy “to be continued.”
Why it matters: The franchise handoff song — a radio single that seals the album’s mood.

“Rosyln” — Bon Iver & St. Vincent
Where it plays: Late-summer melancholy around Bella at school and quiet interior beats before the breakup walk. Fingerpicked guitar and hushed duet sit like held breath.
Why it matters: Sets the hush that the movie won’t escape for a long stretch.

“Possibility” — Lykke Li
Where it plays: The months-passing depression montage at Bella’s bedroom window; calendars spin, nights break into screams, emails bounce back.
Why it matters: The film’s emotional core: bare piano, almost no movement, time as a wound.

“I Belong to You (New Moon Remix)” — Muse
Where it plays: Girls’ night — Bella forces herself out with Jessica. Neon, chatter, a thin smile; the cut bleeds into danger cues as she tests the edge of fear for a glimpse of Edward.

“Friends” — Band of Skulls
Where it plays: Bella approaches the bikers and, after the first apparition of Edward, hops on a stranger’s motorcycle; the road blurs, Jessica protests.
Why it matters: Indie bite for reckless coping — the moment Bella chooses pain to feel anything.

“Hearing Damage” — Thom Yorke
Where it plays: Predator/prey ballet in the forest as Victoria evades the wolf pack; percussion ticks like sonar while close-ups flicker through trees.
Why it matters: Anxious, mechanical — the album’s most modern edge.

“Monsters” — Hurricane Bells
Where it plays: Early morning drive to school on Bella’s birthday and brief campus beats before the Cullens’ party.
Why it matters: Lightness before the cut — the sonic “normal” about to vanish.

“The Violet Hour” — Sea Wolf
Where it plays: The Cullens’ house party up to the paper-cut; lights warm, family easy, then everything snaps.
Why it matters: Domestic glow as setup; blood triggers the plot.

“Satellite Heart” — Anya Marina
Where it plays: Aftershocks and near-kiss tension as Bella drifts between loyalty and new gravity toward Jacob.
Why it matters: Fragile vocals to match Bella’s split focus.

“All I Believe In” — The Magic Numbers & Amadou & Mariam (bonus)
Where it plays: Garage days: Jacob and Bella rebuild bikes; the radio becomes company until Bella turns it off — “I don’t like music anymore.”
Why it matters: The most literal statement of grief in the movie.

“Shooting the Moon” — OK Go
Where it plays: Wrenching, welding, laughing — Jacob’s world opens; short cuts of progress and roughhousing.
Why it matters: An upshift cue: healing via work.

“Done All Wrong” — Black Rebel Motorcycle Club
Where it plays: Transitional montage as the triangle clarifies and the tribe stakes its claim; dusty harmonies, stubborn pulse.

“A White Demon Love Song” — The Killers
Where it plays: Credits rotation; an epilogue vibe with fable-like lyric.

“New Moon (The Meadow)” — Alexandre Desplat
Where it plays: Bella and Edward’s memory-places, and the Italy run-up; strings bloom on the exact memory the film keeps grieving.
Why it matters: The franchise’s most lyrical theme after “Bella’s Lullaby.”

Notes & Trivia

• Music supervision/album production: Alexandra Patsavas. Score: Alexandre Desplat (London Symphony Orchestra).
• Artists contributed new or exclusive tracks for the cycle: Death Cab, Thom Yorke, Lykke Li, Bon Iver & St. Vincent, The Killers, Grizzly Bear (ft. Victoria Legrand), Editors, others.
• “Possibility” became an emblem of the series’ “sad months” montage; the official video followed in 2010.
• The soundtrack and the score were issued as separate albums; both charted.

Music–Story Links

Arrival: Campus pop and warm house lights (“Monsters,” “The Violet Hour”).

Adaptation: After the breakup, the album drops into minimalism — “Rosyln,” then “Possibility,” where time itself becomes percussion.

Rebellion: Bella manufactures danger for visions; the mix hardens — Muse’s swagger, Band of Skulls’ bite, Yorke’s anxious electronics — while Jacob’s garage cues nudge her back toward the living.

Collapse → resolve: Desplat’s theme and the closing sequence fold dread and devotion together; Death Cab’s end-credits single closes the loop without false triumph.

Reception & Quotes

The album was framed as a high-profile indie showcase and debuted strongly. Critics noted the coherence — less jukebox, more curated mood — and how the film let full songs breathe against quiet picture.

“A darker, more somber set that widens the franchise’s palette without breaking it.”
— contemporary album overview

“Desplat’s ‘The Meadow’ gives the saga its second great love theme — tender, fatalistic, and instantly memorable.”
— score write-up

Interesting Facts

• Lead single “Meet Me on the Equinox” arrived ahead of the film and drove the campaign’s sound shift.
• Grizzly Bear’s “Slow Life” prominently features Beach House’s Victoria Legrand — a crossover introduction for many younger listeners.
• The Killers’ “A White Demon Love Song” rolls in the credits, not the main body — a deliberate epilogue placement.
• Bonus-track geography matters: “All I Believe In” and “Solar Midnite” sit on certain editions/digital packages, not all CDs.
• Desplat replaced Carter Burwell for this entry; Burwell returned later in the series.

Technical Info

• Title: The Twilight Saga: New Moon (Original Motion Picture Soundtrack)
• Year: 2009
• Type: Various-artists soundtrack (separate score album by Alexandre Desplat)
• Label: Chop Shop / Atlantic
• Music supervisor/producer (album): Alexandra Patsavas
• Score: Alexandre Desplat; performed by the London Symphony Orchestra
• Key needle-drops (sel.): Death Cab for Cutie “Meet Me on the Equinox”; Bon Iver & St. Vincent “Rosyln”; Lykke Li “Possibility”; Thom Yorke “Hearing Damage”; Muse “I Belong to You (New Moon Remix)”; Band of Skulls “Friends”; Sea Wolf “The Violet Hour”; Anya Marina “Satellite Heart”; The Killers “A White Demon Love Song”; Black Rebel Motorcycle Club “Done All Wrong”; Hurricane Bells “Monsters”; OK Go “Shooting the Moon”; Grizzly Bear “Slow Life” (ft. Victoria Legrand); Editors “No Sound But the Wind”.
• Release (soundtrack): October 2009; Release (score): November 2009 (approx.)
• Availability: Digital/CD; expanded/bonus editions vary by region/platform.

Questions & Answers

Who curated the songs?

Alexandra Patsavas (Chop Shop) produced the album and supervised music selections.

Which song plays over Bella’s spinning-months montage?

Lykke Li’s “Possibility.” Minimal piano, no percussion — it defines the sequence.

What track scores the reckless motorcycle scene?

Band of Skulls’ “Friends,” as Bella jumps onto a stranger’s bike after seeing Edward’s apparition.

Where is Thom Yorke’s “Hearing Damage” used?

Over Victoria’s escape/chase with the wolf pack — a tense, electronic pursuit cue.

Is Desplat’s theme on the song album?

Yes — “New Moon (The Meadow)” appears as the closer on the soundtrack.

Canonical Entities & Relations

Sources: Wikipedia (album/credits); Pitchfork (tracklist, artist contributions); Twilight Saga Fandom and soundtrack indexes for scene placements; retailer/label listings for release details.

November, 17th 2025