CD Review: Mission: Impossible 2
By the BBC's Nigel Packer
The movie's been billed as the white knuckle ride to end them all, and sure enough it has a soundtrack to match.
While the first film featured a slick Danny Elfman score and a techno theme courtesy of U2's rhythm section, the sequel is a far more raucous affair.
With a line-up boasting some of America's wildest and wackiest guitar bands, the sound is as muscular as Tom Cruise himself. But then again this is a John Woo film, so what exactly did we expect? Michael Nyman?
Limp Bizkit kick things off with Take A Look Around - an imaginative version of the famous theme tune which builds from atmospheric beginnings into a guitar riff of seismic proportions.
It's a spine-tingling opener and one that the rest of the album struggles to match, although that's hardly through lack of effort.
Metallica's I Disappear and Rob Zombie's Scum Of The Earth maintain the crushing momentum, and then it's the turn of Texan reprobates the Butthole Surfers to add their own delicate touch to proceedings.
The band first achieved cult status during the mid-80s with a stage show which included singer Gibby Haynes setting fire to himself and diving into the crowd - surely the ultimate method for silencing hecklers.
Age has done little to mellow them, and their contribution here - a hypnotic drone called They Came In - is a highlight.
Queen's Brian May teams up with Foo Fighters for an intense cover version of Pink Floyd's Have A Cigar. It's not quite the perfect match, but a far more successful collaboration than the bubble-headed one's ill-advised duet (or should that be sextet?) with Five.
Thrash merchants Apartment 26 and Godsmack are also among contributors to an album which features a surprising number of cutting edge acts for such a mainstream film.
In this testosterone-fuelled environment, it's something of a surprise to find Tori Amos gatecrashing the party with the eerily whimsical Carnival.
Yet her contribution signals a complete change of pace as the album draws gently to a close with a flurry of flamenco from Hans Zimmer - who also wrote the film's accompanying score - and a quirky version of Iko-Iko by Zap Mama.
With any soundtrack featuring a wide range of performers there's a danger of the end product sounding random and unfocused - yet by and large this is a cohesive and intriguing album.
Oh, and in case you're wondering, it doesn't self-destruct five seconds after finishing.
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