Online only: Spider-Man 3: Music From And Inspired By: C

The first "Spider-Man" soundtrack was fairly eclectic, but is best remembered for the execrable "Hero" by Nickleback's Chad Kroger. "Spider-Man 2's" soundtrack was a big, steaming lump of pop-punk and emo straight from the bowels of MTV. So, it was a considerable surprise when word got out that "Spider-Man 3's" soundtrack would be indie-rock dominated. And not just by crossovers like Snow Patrol, The Killers and Wolfmother -- but also such unquestionably indie acts as Yeah Yeah Yeahs, The Walkmen and The Flaming Lips. So, are we talking about the next "Garden State"?\nWell, no, unfortunately. For a dude who swings from skyscrapers and pummels supervillains, Spidey gets a pretty dull soundtrack, albeit one that's better than the last two.\n"Signal Fire" begins things badly, with Snow Patrol sounding like Coldplay but not as butch. The Killers' "Move Away" offers far more gusto but is undermined by Brandon Flowers' lyrics about people pulling their skin off. Finally, Yeah Yeah Yeahs produce the album's first decent rock song, the stompy, punky "Sealings" (from the "Driver: Parallel Lines" videogame soundtrack), while Wolfmother's "Pleased To Meet You" is a somewhat bland blues rocker. In "Red River," The Walkmen provide a lively example of their barroom-Dylan sound, and, for "Stay Free," Black Mountain does an OK Shins impression. Then, The Flaming Lips offer up "The Supreme Being Teaches Spider-Man How To Be In Love," an exceedingly strange track even for them, with lyrics about Spider-Man fighting Muhammad Ali. And, Simon Dawes' "Scared of Myself" sounds like Elvis Costello doing rock opera.\nSuddenly, Chubby Checker's "The Twist" appears -- apropos of nothing! \nAnd we're back to indie rock again, with Rogue Wave's pretty strummer "Sightlines," and Coconut Records' lo-fi twee-core, "Summer Day." Next, Jet shock the listener by copying The Beatles instead of AC/DC, and Sounds Under Radio apes Snow Patrol. The Wasted Youth Orchestra evokes Elliot Smith doing chamber pop, and The Oohlas close things out with a nice Spector wall-of-sound revival, "Small Parts"\nDespite the soundtrack's highlights, its unremitting glumness gets quite monotonous. Next time, let Venom pick the music.