21 Songs

EDITORS’ NOTES

Carter Burwell is well known for his work with the Coen Brothers — his debut effort was the score for 1984’s Blood Simple — but he has written music for dozens of other films as well. He often incorporates rock elements into his work, and that influence is on display in his score for Catherine Hardwicke’s adaptation of Stephenie Meyer’s popular vampire novel, Twilight. Much of the music is striking for its tasteful restraint, considering the movie’s charged material. Two of the key tracks, “Bella’s Lullaby” and the closer, “Edward at Her Bed,” possess a strong romantic quality — the former, with its lush orchestration and striking piano melody, bristles with mystery, while the latter cut possesses a sense of melancholy tranquility. Some of the score is big and loud; a number of pieces feature tribal, almost ritualistic, percussion and piercing electric guitar tones. (The guitar parts, played by David Torn, Kaki King, and Mitch Dalton, bring to mind art-metal.) Burwell not only composed this effective score, he conducted, orchestrated, and produced it as well.

EDITORS’ NOTES

Carter Burwell is well known for his work with the Coen Brothers — his debut effort was the score for 1984’s Blood Simple — but he has written music for dozens of other films as well. He often incorporates rock elements into his work, and that influence is on display in his score for Catherine Hardwicke’s adaptation of Stephenie Meyer’s popular vampire novel, Twilight. Much of the music is striking for its tasteful restraint, considering the movie’s charged material. Two of the key tracks, “Bella’s Lullaby” and the closer, “Edward at Her Bed,” possess a strong romantic quality — the former, with its lush orchestration and striking piano melody, bristles with mystery, while the latter cut possesses a sense of melancholy tranquility. Some of the score is big and loud; a number of pieces feature tribal, almost ritualistic, percussion and piercing electric guitar tones. (The guitar parts, played by David Torn, Kaki King, and Mitch Dalton, bring to mind art-metal.) Burwell not only composed this effective score, he conducted, orchestrated, and produced it as well.

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Customer Reviews

4.5 out of 5

155 Ratings

and so the lion fell in love with the lamb...

ROVE LIVE,

I went and saw this movie a few days ago and it blew my mind!! Not only is it enjoyable but the music helps tie everything together and helps tell the story. Carter Burwell has done a great done with this album... It's a must have for all the Twilighters out there!

Don't think twice - JUST BUY THE ALBUM!

Trust me . . . I'm eduma-cated,

Don't worry - I am not writing this to confess my love for a fictional character (even if Rob Patterson IS gorgous). When I bought this a album, I thought 'hmm, maybe I should have bought the soundtrack instead. ' Think again, my good friends (other twilighters)! Take the time to listen to the pieces, and you will find that music can sound great even if a person isn't being torn apart in the scene it's being played in. I love Bella's Lullaby (as any true twilighter should), I know what you are, Bella is part of the family . . . but I'm running out of space. So lets just say ALL OF THEM.

About Carter Burwell

Probably one of a very few soundtrack composers to idolize Iggy Pop, Carter Burwell is best known for his work with the Coen Brothers, having scored every one of their films through the year 2010. By turns haunting and dark or quirky and experimental, Burwell's eclectic music has graced films in a wide variety of genres, and he's used the occasional big-studio project to finance his work on a number of groundbreaking independent films. Born November 18, 1955 in New York, Burwell took piano lessons as a child and learned to play blues guitar as a teenager. He studied architecture and fine arts at Harvard, but wasn't considering music as a career; upon graduating, he first worked in a biology lab, then as an animator, while playing in punk bands by night for fun.

A mutual friend referred him to the Coen Brothers, who were seeking a composer for their 1984 debut feature, Blood Simple. They all hit it off, and Burwell was employed for the Coens' next project, the kidnapping caper Raising Arizona (1987); Burwell blended samples with a variety of thematic source materials. The Coens' 1990 gangster film, Miller's Crossing, was Burwell's first fully orchestrated work, and he attracted more attention for 1991's groundbreaking Barton Fink; he composed only 20 bars of music, which were then treated with various sound effects and reshaped throughout the film by sound designer Skip Lievsay.

Burwell's workload increased steadily as the '90s progressed, and he began taking on more mainstream film projects: Doc Hollywood (1991), Wayne's World 2 (1993), and Airheads (1994), among others. He won wide acclaim for his work on 1995's Rob Roy, which kicked off the most prolific period of his career -- over 35 films in the next five years. Among the highlights were the thriller Conspiracy Theory (1997), The Jackal (1997), Gods and Monsters (1998), the fictionalized glam rock chronicle Velvet Goldmine (1998), Spike Jonze's bizarre Being John Malkovich (1999), and the Gulf War epic Three Kings (1999). In addition to his film-scoring activities, Burwell has also played accordion and synthesizer with eclectic new age artists like Gabrielle Roth and David Hykes' Harmonic Choir. Burwell remained in demand through the 2000s and 2010s, reteaming with director Spike Jonze on the music for Adaptation and scoring several installments of the Twilight Saga movie series. In 2016, he earned his first Academy Award nomination for his score for the Todd Haynes-directed, 2015 British-American romantic drama Carol, and that same year saw him reuniting with the Coens for 2016's Hail, Caesar! among his many projects. In 2017, Burwell provided the score for director John Lee Hancock's The Founder, a biographical drama about American businessman/McDonald's guru Ray Croc. ~ Steve Huey

  • ORIGIN
    New York, NY
  • BORN
    18 Nov 1955

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