Spiderman 3 soundtrack
The soundtrack for the previous Spiderman film had a strong thread of emo and hard rock running through it. This collection has moved more towards contemporary indie-rock.
Kilian Murphy, 16 May 2007
The soundtrack for the previous Spiderman film had a strong thread of emo and hard rock running through it. This collection has moved more towards contemporary indie-rock, with several big hitters from the current scene placed alongside less familiar names.
As a snapshot of Indie Today, you would have to say that it's quite accurate. Accurate, but not altogether flattering; this OST takes in the best and worst of the current crop.
Contemporary indie rock bands have a disconcerting tendency to plod. Snow Patrol are, arguably, the most notable offenders in this regard. Their contribution, ‘Signal Fire’, is everything you have come to expect from Lightbody and co: a vague, windswept stadium rock ballad, with little going for it except size. You will be either moved or bored; I shall plump for the latter.
Jet’s ‘Falling Star’ is another lumbering number: dull, macho cock-rock that would barely make the cut on a recent Oasis album. Less familiar names, like The Wasted Youth Orchestra and Rogue Wave also exhibit a disappointing lack of grace.
But fear not, there are still some reasons to be cheerful. Black Mountain’s ‘Stay Free’ is a quite gorgeous country waltz, with gentle organ and a sweet Neil Young whine in the vocals. A formula that often puts me to sleep, admittedly, but here it gels magnificently. Beatsteaks’ ‘Cut Off’ is the standout, though; a squelching, throbbing slab of hedonistic electro-rock.
The Yeah Yeah Yeahs and Wolfmother also deliver songs worthy of their respective reputations, though The Flaming Lips do not. If their contribution’s title (‘The Supreme Being Teaches Spider-Man How To Be In Love’) isn’t confirmation of a descent into self-parody, then the track’s tedious go-nowhere melodramatics are surely proof of a creative burn-out.
Kilian Murphy
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