There’s something about love, vampires and screaming teenage girls that doesn’t quite lend itself to a soundtrack that could be enjoyed by both the male and female genders. However, I’m a guy and I am publicly admitting that the “Twilight: New Moon” soundtrack is ridiculously good.

I know what you might be thinking, but hold your horses and give it a chance.

On the whole, the musical collection gives the impression that this movie will have a lot of overcast days, rainy weather and self-loathing. That being said, although “Garden State” has held the soundtrack crown in regard to compilations of artists for movies with “(500) Days of Summer” hot on its tail, “New Moon” puts up a solid fight for the title. Kicking off with the made-for-movie “Meet Me on the Equinox” by Death Cab for Cutie, the soundtrack carries a pervasive atmosphere that could be described as how one might feel sitting on his couch on a snowy day in a room glowing with ambient light.

The tracks that follow build upon that emotion and amazingly, with such different talent and musical style, each artist lends his or her hand in solidifying the late November aura. Not to be theatrical or dramatic about the music, but listeners will understand what I mean. Tracks like Thom Yorke’s electronic, sample-driven “Hearing Damage” and Band of Skulls’ “Friends,” followed by the standout song “Possibility” by Lykke Li, round out the first act.

The majority of songs evoke a hollow, acoustic emotion. With few words and gentle strumming, Anya Marina and the collaboration between recent stars Bon Iver and St. Vincent (another standout track) act as the bookends to a remix of Muse’s “I Belong to You” off their most recent release, “The Resistance.”

Having avoided the books as well as the first motion picture (and not planning on seeing it anytime soon), it is easy to assume there is some sort of emotional void in the protagonist’s life during this episode of the story and the need for some form of self-discovery. Whether these songs actually appear in the film, or are just a means to draw the youthful, indie-inclined crowd to the film, there is something earthy and raw about the chosen tracks. Only occasionally are distorted instruments present and even then it’s nothing your mom would have told you to turn down in middle school.

Sea Wolf, OK Go and Grizzly Bear round out the closing moments of the disc. The redemptive ballad “No Sound but the Wind” by Editors sounds like the perfect emotional climax of two lovers who have suffered a separation finally joining forces once again. This isn’t a spoiler but more of a prediction from a male who doesn’t understand the obsessive hype surrounding the saga.

Perhaps someone will inform me if my prediction is right since I’ll be falling asleep to this soundtrack while you’re in line with hundreds of love-thirsty, Edward-obsessed women.