Esteemed producer T-Bone Burnett certainly succeeds in what he routinely does best -- establishing, then maintaining, a specific vibe and sound on the album. It's downcast and dreary, for the most part, and populated by some of the coolest characters in indie music and country.
The album should be a hit with the "Hunger Games" brigade -- which should be good enough to turn it into a multiplatinum sensation. Yet, unlike some of Burnett's other soundtrack works (most notable, "O Brother, Where Art Thou?") I don't believe it can transcend the film and have a life of its own.
The soundtrack gets off to a rough start with the rather bizarre "Abraham's Daughter," which might be the most pretentious thing Arcade Fire has ever recorded — and that's really saying something. Was the band intentionally going for an Enya sings "Game of Thrones" vibe? If so, Arcade Fire definitely nailed it! "Abraham's Daughter" should, however, make the playlist at Dungeons and Dragons parties for years to come.
Thankfully, the soundtrack improves from there, with a star turn by the Secret Sisters (real-life siblings Laura and Lydia Rogers) on "Tomorrow Will Be Kinder." Critics' darling Neko Case is mediocre, as she often is, on "Nothing to Remember" -- providing a rendition that definitely underscores the tune's title.
Taylor Swift is routinely knocked for having a rather weak voice. Yet, that charge seems downright preposterous after listening to the somber "Safe & Sound." (Actually, it seemed preposterous to me long before I heard this track.) Of course, it doesn't hurt when you have the acclaimed Civil Wars on harmonies.
Kid Cudi is one of the top talents in hip-hop, and his "Man on the Moon" series has been epic, but he doesn't live up to his own standards on "The Ruler and the Killer." The song sounds like mediocre Soul Coughing.
The album enters a sweet spot with Track Six, the Punch Brothers' "Dark Days," and remains there through Track 10, Glen Hansard's "Take the Heartland." One of the highlights of that solid stretch is the rambunctious "One Engine" by the Decemberists, the Grammy-nominated troupe that has made a career out of taking complicated concepts and twisting them into tuneful bliss. Another is the Carolina Chocolate Drops' old-timey "Daughter's Lament," which nicely showcases Rhiannon Giddens' memorable voice. The Civil Wars' plaintive "Kingdom Come" is undeniably lovely — but certainly not a track I'd want to listen to multiple times.
After all those hip selections, it was a little weird to see Maroon 5 on the track listing -- I mean, who knew that reality TV star Adam Levine even had a band? OK, I jest. Let's just say, however, that Maroon 5's offering on the soundtrack -- "Come Away to the Water" -- is no "Moves Like Jagger." In fact, I'd wouldn't be surprised if it put ol' Mick to sleep.
The album meanders to a close after that, coasting through a run-of-a-mill Swift track ("Eyes Open"), another snoozer by Low Anthem ("Lover is Childlike") and other mediocrity. By the time the dreary album ended, I found myself longing to put on the "Twilight" soundtrack — at least that offered up a little variety.
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