Share on Facebook Share on Twitter Share on Google+ Share on Reddit Share on Pinterest Share on Linkedin Share on Tumblr It’s hard to imagine a better musical menagerie to accompany a film in which things blowed up good. (Or is that blowed up well?) Equally difficult to summon would be a soundtrack that could so instantaneously slake an adolescent thirst for pectoral thumping, bicep pumping rock ‘n’ roll. Unregulated testosterone bubbles like oil from a ruptured pipeline in the Transformers franchise and so it’s important that only the thumpiest of the pumpiest were invited to the party. Each of the compositions here are directly inspired by the film, making for a better than usual tie-in. No doubt it’ll also confuse the bejeepers out of anyone who picks The Best of Born Cages 15 years from now but so be it. When Thomas Wolfe wrote, “You can’t rock out like a 14-year-old riding his BMX behind the abandoned mall again,” he hadn’t yet heard Mount Holly’s “Roll Out” with its fisticuff drums and ear-wounding cries for rebellion. It’s not just a serious jam, it’s actually rocket fuel for mid-afternoon rebellion as you saunter in late to Chemistry without a hall pass. Real truth, though? Vocalist Jameson Burt sells this song, convincing us that the plot points conveyed in the lyrics are as important to our everyday existence as anything ever uttered by The Boss. It’s not just a call to arms for the machines it’s a call to arms for machines who possess emotions. Burt and Co. admirably commit to the tune, creating something that stands a pretty good chance of enduring beyond the confines of a popcorn flick. Bush, the band that singlehandedly gave ‘90s music its bad name, emits a pleasant enough order via “This House Is on Fire.” Yeah, it sounds like pretty much everything else the group has issued since 1993 but you’ll be singing along with the choruses by the second line. Crash Kings brings a touch of psychedelic pop to the table on “Gigantik,” yet another piece that can be separated from the source. With a popping piano figure and a bassline that’ll move you like nothing since your last stick of Juicy Fruit you can’t lose. MEW’s “Count to Ten” proves pallid but palatable while Ella Rae’s “Into the Fire” serves up a ProTools potluck. It’s a noisy mishmash meant to resemble a song but instead only offers another senseless battle in the loudness wars. The mediocre at best piece has the misfortune of featuring the phrase “explosions in the sky,” which only calls to mind a far superior act that would have laid waste to much of what’s on this collection. The Spurs’ “Exiled” matches Mount Holly in conviction even though Jameson Burt’s solo turn, “Just a Spark” can’t. It does a decent Jeff Buckley-cum-Physical Graffiti-era Led Zeppelin but it’s nothing more than imitation. But Darby’s Todd Rundgren-meets-Bowie “Modern Man” succeeds at synthesizing the best that the man from Utopia and our favorite space boy had to offer. It’ll leave the listener satisfied knowing that someone had the stones to try something so daring amid a crop of corporate rock clones. Born Cages’ “Revolution” is utterly forgettable exit music from the film, a Radiohead/Coldplay knockoff that doesn’t add a dang thing. For the better part of an hour, though, you can be a kid with more testosterone than taste and enjoy the carefree spirit that inspired this collection. And there’s really nothing wrong with that.