My primary problem with this soundtrack is that while diversity is good, there’s too much in the way of mediocre pretend-metal making the album a disjointed listen at best. For awhile, there’s a good flow from the aggressive opener (a pretty good effort from Richard Patrick, Wes Borland, Josh Freese, and Danny Lohner), to the no-less-intense but far-calmer “Rev 22:20.” Maynard James Keenan’s voice never ceases to please. Back to the aggression with Page Hamilton, suitably sounding very Helmet-esque, and then back to calm with a song by Milla Jovovich (and a very good one). The short Renholder instrumentals are good fillers that should’ve been longer. They start out very nicely, leading into what could be a great long instrumental…and then it’s over. The David Bowie track with Maynard is great, very mellow, typical of Bowie nowadays and his voice works well with Maynard’s. I don’t see the big deal about John Frusciante though…he’s good, but he’s not THAT good. The new Skinny Puppy song is the real treat…harking back to “The Process,” this is basically OhGr with cEvin Key to liven things up and Ogre’s vocals recall his older more dissonant style. It’s a welcome return to form, and I hope it’s not just a one-shot deal. The remix of A Perfect Circle’s “Judith” is wonderful, substituting the original’s aggression for ambient beauty, and yet still working with Maynard’s angry voice. The new song by APC, “Weak and Powerless” is as good as anything from their first album, and if it’s any indication of what “The Thirteenth Step” sounds like, then that album may very well be among the best releases this year. Johnette Napolitano is amazing, I love her voice. Dillinger Escape Plan I can do without. Just some noise math-rock to keep things different, but…it’s just not welcome to me. Nor is the song by Trust Company, who are highly overrated in my opinion. Same with The Icarus Line and Finch, who I can normally appreciate to some extent, but here…it just feels unnecessary, just to add some noise. The tracks by Lisa Germano and Sarah Bettens are good though, fitting in that ambient-gothic female-vocal style of song that we had with Milla and Johnette. Basically, the album starts strong and then falls flat into territory best left to the nu-metal posers. I think it says something that the first half of the CD is mostly established artists, people who’ve no need to prove themselves, and then halfway through we hear bands who have yet to achieve some level of stature. Not a bad idea to promote a band, but I feel it ruins the flow of the soundtrack. I’m sure the newer kids will love it though, since it seems geared more towards that audience, but I can do without it.