“New Moon [Original Motion Picture Soundtrack]”- Various Artists

I would have never predicted a “Twilight” product to gleam so brightly.

The promise of the stellar lineup of bands found on the “New Moon” soundtrack track listing released just weeks ago seemed a little too good to be true. Now that the album has come to fruition, that promise feels half realized, but goes beyond one’s wildest expectations at times.

There is a stark contrast in the mood conveyed with “New Moon” compared with its predecessor, “Twilight,” swaying towards a somber, sincere disposition as opposed to the buoyant, yet overwrought panache of the original.

It is easy to grow dull with a slowed-down pace, but placed in the right hands, as seen in “New Moon,” the product develops into a lush, gorgeous thing.

The seemingly most experienced bands seem to have the most trouble in this go however. Death Cab For Cutie opens up the album with “Meet Me On The Equinox,” a song that is solid enough, but really lacks any real vitality or originality. The Killers disappoint as well with “A White Demon Love Song” which simply feels like a disjointed afterthought. Muse, the lone holdover from “Twilight,” follows the trend with “I Belong To You,” feeling more like sloppy seconds from “The Resistance,” also suffering from its awkward position between two more poignant, subtle ballads.

Luckily, a good number of the bands brought their A-game to the plate. The throbbing drone of “Hearing Damage” is just another slice of Thom Yorke genius, while Lykke Li’s chilling “Possibility” is positively heartbreaking.

The black horse of “New Moon” proves to be Anya Marina, whose “Satellite Heart,” a stripped down tearjerker, plucks at your heartstrings and threatens to steal the show.

It’s a pair of duets raise “New Moon” highest above the horizon. The rich, textured “Roslyn” couples the simple beauty of Bon Iver and lushness of St. Vincent for a match made in heaven. The two gently swoon over an immediate, flourishing grace of strings and sweeping guitar.

Then Grizzly Bear shares the secret to making their lovely chamber pop even more romantic: adding the exquisite vocals of Victoria Legrand (Beach House). She sweetly beckons over a minimal arrangement before bursting into supernova of cymbals, lurching guitar and popping piano brushes.

Despite a few missteps, “New Moon” melds the wide array of talents into a tight, focused affair tied together with their somber sigh of sadness that holds on for another chance at romance.

“New Moon” shines brightly enough to wonder what “Eclipse” will bring next time.

“Tongue ‘n’ Cheek”- Dizzee Rascal

Move over Diddy, the new party king has just landed stateside.

Mercury Award-winning Dizzee Rascal, a colorful rap act out of London, operates like Britain’s answer to Pharrell, utilizing exotic, eclectic samples in crafting beats that are not only innovative, but also damn catchy.

However, while Pharrell skews futuristic, Dizzee unabashedly displays an affinity for the old, and never so prominently as with “Tongue ‘n’ Cheek.”

One of the pioneers of grime, a thicker, harsher version of hip-hop, Dizzee came across with a heavier thud and distorted fuzz on earlier standout albums like “Boy In da Corner” and “Showtime.” Yet “Tongue ‘n’ Cheek” bubbles with glimmering loops and polished delivery. A faint hiss of static acts to remind the listener of his roots however.

Dizzee favors old-school house beats that bring to mind ‘90s techno club bangers. He twists and molds these loops into a whole other animal, a more menacing version of those house hooks.

These appropriately cheeky beats provide a smooth glaze for Dizzee to glide over. Lead single “Dance Wiv Me” ducks and struts with a lighthearted swagger that begs an Usher comparison or two. “Holiday” is another club-ready swirl that fizzes like champagne beneath an nostalgic house synth piano line and muffled deep punches.

“Bonkers” and “Road Rage” have Dizzee at his grimiest. “Bonkers” flails about all over the place in a constantly shifting rhythm of mechanical hums and squirrelly electronic zags. “Road Rage” is fittingly dangerous with its cocky bravado hurrying through punchy percussion and static-filled echoes.

“Tongue ‘n’ Cheek” really does sound like an attempt to soundtrack the breadth of a party crashin’ evening of events, including from bar fights, bedroom excursions and quick drags to popping bottles, dumb dares and spilt drinks before passing out.

It’s no small feat, but Dizzee pulls it off without a sweat.

No one brings the party like Dizzee, and “Tongue ‘n’ Cheek” quickly becomes the frontrunner for party album of the year.