From Vegas to London

The soundtrack to the film London finds the Crystal Method on many kinds of unfamiliar territory. Thematically, sonically, and geographically removed from their comfort zone, the California big-beat duo nevertheless tries to make the best of a bad situation.The Crystal Method contributes the score for this cautionary tale of drug-addled New York lovers. All too willing and able to conform to the standard of unobtrusiveness of movie music, the background noise has some mainstay Crystal Method sounds (“Roboslut” goes so far as to echo the former glory of “Busy Child”) but for the most part removes vocals. Without a diva’s stylings — Scott Weiland’s breathy performance on 2001’s Tweekend, for instance — or famous samples like those of “Keep Hope Alive,” the music becomes as forgettable as the film.

This is not to say that the Crystal Method is completely hapless here. First single “Smoked” repeats the successful rock-rap formula of “Name of the Game,” although the anthemic refrain “I believe in you” sounds incongruous next to lyrics about self-medicating Midwestern housewives. Then there’s “Vice,” a gem of a slow jam that’s about as naughty a song as they’ve ever cut.

Yet scores don’t stand alone in movie soundtracks, and on London the original songs from other artists only serve to further sully the Crystal Method’s efforts. For every winner like Connie Price and the Keystones, seemingly channeling the JB’s, there are multiple losers such as Troy Bonnes’ whiny “Crime” and the Out Crowd’s tame rockabilly. The two biggest losers? The Crystal Method themselves.