“‘Mystery Men’ Soundtrack”

Various Artists

The soundtrack to “Mystery Men” is an eclectic mix of alternative, folk, rap, disco and a few tracks that cannot be easily pigeon-holed.

New artist John Oszajca opens up with “Back in 1999.” Oszajca has been described as a hybrid of Bob Dylan and the Beastie Boys, and that’s pretty close to the mark.

The track is a much better ode to our times than all the millennium jazz floating around the airwaves. It has a positive, retrospective feel and utilizes a folk storytelling ethic combined with a funky club beat that should make it a dance hit.

The Dub Pistols’ “Keep, Keep Movin'” has a nice beat and is easy to dance to. It’s fast and furious, like a Jackie Chan flick on scan.

Devo’s Mark Mothersbaugh turns up in the damnedest places and this soundtrack is no exception. “The Mystery Men Mantra” is one of those inevitable soundtrack songs that operates as an homage to the film itself. It isn’t of any real interest or value artistically.

Smash Mouth’s “Allstar” is on this soundtrack and this album is the source of the million times you heard it last summer. However, in this context it makes a little more sense.

It’s fun if you aren’t already sick of it.

The Bee Gees’ “Fever Night” and the Trammps’ “Disco Inferno” round out the disco portion of this album. If you haven’t heard these tracks in a long time, they are given new life in this context. “Fever Night” is a much better song than you remember and “Disco Inferno” has an energy that burns, baby.

Every song is from the film, unlike many soundtracks, which use songs “inspired by the film.” It’s a trip for fans of the flick, and it isn’t too bad for new music lovers either.

The Violent Femmes do a little song called “No More Heroes,” which sounds pretty much like everything else they’ve ever done. The jangly guitars and line repetition aren’t stellar, but they’re not off-putting either.

One thing the album could use more of is sound bites from the movie because the one sound bite at the end is not enough. Yes, they’re cheesy, but once you’ve decided to buy a soundtrack, you’ve already entered cheese country, so you might as well apply for citizenship.

3 stars

— Greg Jerrett

“Chamber Music”

Coal Chamber

With Korn and Limp Bizkit opening the door for hardcore music, band after band has tried to garner the same success.

Coal Chamber, hailing from Roadrunner, the same record label as Des Moines natives Slipknot, just released their second major album, “Chamber Music.”

Blending Orgy-like background music with Korn-style vocals, Coal Chamber pumps life into the constantly growing hardcore scene.

But the all too familiar chord progressions and unintelligible lyrics sound a bit too similar to hardcore’s forefathers. Coal Chamber still has a way to go until they reach the same level as their peers.

Viewing the picture on the back cover, one might think it’s Halloween, and Coal Chamber is going as Orgy. Their tendency to put on a facade stretches farther than the music.

Although the tight mix of solid music demonstrates large hints of potential, the group still lacks the vocal edge needed to demand the attention of listeners.

It’s not a bad CD if it’s playing in the background, but if the volume is turned too loud, “Chamber Music” would be better turned off.

2 stars

— Kyle Moss

“Heads Are Gonna Roll”

The Hippos

On their major-label debut, “Heads Are Gonna Roll,” the Hippos serve up a blend of ska, pop and rock reminiscent of bands like Reel Big Fish and Less Than Jake.

Unlike 1998’s indie release, “Forget the World,” the new album has thicker sound and better recording quality thanks to producer/engineer Mark Trombino (Blink 182). The fresh sound is best exemplified by “Far Behind,” a song the band remade that comes through this time around with a crisper sound.

Although the songs are simplistic and the horn parts aren’t very complex, the songwriting has improved since the first album. “Heads Are Gonna Roll” is much less repetitive and more unpredictable.

The creative cover of the ever-popular ’80s love song, “Always Something There to Remind Me,” is worth a listen even to ska haters. The first single, “Wasting My Life,” rises above the average ska-punk song with its catchy, infectious sound.

The album does have its downsides.

On the last album, the Hippos had two percussionists, which gave the group a sound all its own. However, on this release, the band has decided to drop the percussion to add synthesizers and Moog keyboards, giving the songs unneeded extra noise.

But all in all, the Hippos have grown leaps and bounds since their previous try.

3 stars

— Dewayne Hankins

Indie Spotlight: “Life in a Bubble Can Be Beautiful”

Red Stars Theory

Touch And Go

Meticulously constructed in the tradition of June of ’44 and Seam, Red Stars Theory’s “Life in a Bubble Can Be Beautiful” wanders along as a sleepy, yet tranquil record.

Formed by current members of 764-HERO and expatriates from Built to Spill, Red Stars Theory springs forward on their new album, released on Chicago’s respected Touch and Go Records.

Complex guitar melodies float through each song, interwoven with violin, cello, chimes and the gentle buzz of bass guitar.

With only seven songs, “Life in a Bubble Can Be Beautiful” clocks in at nearly 45 minutes, with each song lasting an average of six or seven minutes.

Like a Quentin Tarantino film, the album surprisingly climaxes at the beginning with the instrumental track “How Did This Room Get So White.” It’s the only song on the disc with even a trace of forceful indignation. The song ends in a symphony of feedback, distortion and peculiar samples, setting itself apart from the rest of the album’s somber feel.

The epic, eight-minute-plus “Parts per Million” finds the band drifting in a sea of serenity, slowly propelled by the melancholy undertones of a quiet violin.

On “Boring Ghosts,” nearly mute vocals create an angelic underpinning for a beautifully-crafted song.

Life can indeed be beautiful and Red Stars Theory have proven it.

4 stars

— Conor Bezane

Ratings based on a 5 star scale.