20 Great Soundtracks from 2009 (A Countdown of Movies, Video Games and TV that rocked)

Twilight Examiner, our elite affiliates, posted this article of 20 Great OST from 2009. Twilight Saga: New Moon made it to the list #9. Check it out! -Liana- (via @TwilightExaminer)

Now that 2009 is quickly becoming a fleeting memory, all the major media outlets are scrambling to remind the public of what it SHOULD be remembering as the best and worst of the year. Nine times out of ten, these lists are ham-fisted, shameless plugs for that which was the most popular, what is most likely to win awards, with smatterings of unknown indie releases simply to prove that the “experts” aren’t the nose-upturned snobs we know they are.
Whatever happened to culling lists because they were fun? Why not make a list of things that you genuinely like, without any kind of ulterior (or advertising-linked) motive? Ham-fisted concoctions like those you see in mainstream magazines only continue to act as ego-stroking that spoon-feeds us until we become so reliant on those “experts” to tell us what is “good” and what is not. And we ultimately forget that the “experts” are merely people with opinions…just like us.
This is why I agonize over making “best of” lists, because it only serves to express my own personal opinion. If you read any list you find online, you will undoubtedly see a string of comments of both praise and complaint – praising the writer for including some of the reader’s favorites (which was actually a coincidence), or chastising the writer for “forgetting” to include certain things or flat-out telling him/her that he/she is wrong in his/her choices and rankings.

9. THE TWILIGHT SAGA: NEW MOON (Alexandre Desplat) – Go ahead, call me a sellout, but Desplat’s motifs on this score will not leave my head. I was actually agonizing over which Desplat release to include on this list (he did seven scores for 2009), and I had narrowed it down to this one and Coco Avant Chanel. And while Coco was ultra-elegant and sophisticated, it ultimately seemed formulaic for Desplat’s ability. New Moon, on the other hand, is what happens when a composer truly immerses himself in his music. Each chord progression is a different emotion, swelling and swooning as it reaches its impending detonation. Whether or not you’ve seen the movie, it is challenging not to be moved by Desplat’s work herein.


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