Revolutionary Here is the soundtrack to the final movie in the Matrix trilogy. Don Davis is a master, and Juno Reactor are masters of what they do, which is electronica. Put them together and you have nothing less than a masterpiece. I know this is not the first time that techno has been fused with classical orchestra, but it is always great. This is all score, with the exception of the one song that was in the "club scene", but that just blends in so nicely with the rest of the music that it doesn't even sound awkward. The last track is also the greatest. This album ends with a bang. If you have enjoyed these movies as well as the music and soundtracks then you will enjoy this.
Rounds out the edges... Wow, a lot of reviewers have had a lot to say about this one. Well, I'm not going to say a lot because so much has already been said, just know that as far as scores go, this is one of the best, and even though I really wanted another hard rock/techno infused powerhouse of an album, the few songs provided by Pale 3 and Juno Reactor are enough to satisfy me (In My Head is just freaking awesome). Don Davis is genius here and provides a beautifully written piece of work that will burrow itself inside your head and stay with you. The final track Navras is reason enough to own this perfect compliment to a highly regarded franchise and serves as a nice way to round out this trilogy, not only of film but of music.
Unique, Original, Definitive! There is a lot to rave about regarding Don Davis' work on the Matrix scores, but the clearest and most appropriate compliment would be to attest to their uniqueness. He did not find the right sound for the film; he invented a completely new sound. That this new sound was also the right sound--the only right sound--is what beckons the listener to pay attention. This is not music for every occasion; it want lull your baby to sleep. But when the moment is right, and you are in the right mood, it is an experience like no other.
Whereas the score to Reloaded was a techno-feat that was pure fun, this score establishes deeper orchestral roots that take it to a more refined, emotional level. Listen to the many places to which the listener travels: the frenetic chaos of the action cues, the solemnity of the elegies, the operatic tidal wave of the full chorus, and the sublimity of the film's denouement. Each is united into a unique and altogether representative symphony that has come not just to underline the Matrix universe but to utterly define it.
Three cheers for Don Davis, with the unavoidable question: why don't you score more films?
Perfection! This score is absolutely astounding in every way. To say that it's musically complex is an understatement - it's often difficult and intricate to such a level that hasn't been seen much before or to such an extent - but unlike a lot of other complex and dissonant works, Revolutions is also so enjoyable and exciting thanks to it's ongoing energy and the sheer perfection of the music itself. Davis' tone for this movie and for the whole franchise has been spot on, which in itself is difficult to achieve, however, whereas the previous two scores incorporated a lot of techno riffs and beats, Revolutions thankfully allocates far more time to the orchestral elements, with only a few cues incorporating techno. I think this was wise; whereas in the first two movies, the techno element helped to contribute to that overall `cool' and `stylish' feel, by the time of the third movie, I feel the whole shiny black leather and cool shades image was quickly becoming cheesy and satirised and a back to basics, orchestral approach was far more appropriate.
Not that Davis delivered anything basic, far from it! As already mentioned the level of musical complexity is impressive and as it is, sounds unlike scores you may have heard before, a perfect and distinct sound for a distinct franchise. The tone here is generally dissonant and harsh with two predominant choirs in the music, strings and brass, with warm woodwinds pushed right into the background except for a few choice moments. This, along with the actual nature of the music, helps to create a sense of conflict between the two, which obviously suits the movie.
Despite its atonality, Revolutions is also often surprisingly melodic and unexpectedly produces some of the finest examples in film music of beautiful, uplifting and majestic moments. The love theme hinted at in Matrix Reloaded is given the full treatment here in Trinity Definitely and it is stunning - it's simple but achingly beautiful and effective and it's hard to imagine anything else fitting the scene so perfectly. Revolutions also gives the best rendition of the Main Titles so far with the now famous brass crescendo, wave effect perfectly complimented by the orchestration and leading into an exciting rhythm and chord progression. This alternating brass effect is such a neat and clever little motif and perfectly encapsulates the dreamy, warped sense of reality theme of the movie(s) - we're so used to the idea of a memorable melody or hook defining a franchise or representing the main themes and characters that I find it refreshing that such a simple technique can have exactly the same effect.
However, it is the action cues that impress the most and there are lots of them. It's very rare that you can say music is genuinely thrilling and exhilarating but from the exciting going to war cue Men in Metal right through to the score's epic highlight Neodammerung, the score never lets up in its energy, excitement and invention - the only other score I can think of that contains so many action cues but manages to keep them all fresh and exhilarating is Shearmur's Sky Captain and the World of Tomorrow and it must be so difficult to achieve but Davis manages it here seemingly effortlessly. Niobe's Run is exciting and frightening and gives the sense of being chased; Moribund Mifune is great `race against time' music; Saw Bitch Workhorse is un-relentlessly dissonant building to an almighty crescendo and Neodammerung is operatic and very classical sounding, with the truly immense choir singing over a simple chord progression and layered with timpani, constantly swirling strings and high woodwinds and the rest of the orchestra playing at top volume - it's breathless, absolutely perfect for the movie's big showdown and gives way to some great moments of the brass motif. It all ends with the glorious Spirit of the Universe, a wonderfully pastoral and uplifting contrast to all that's preceded it and gives a wonderful sense of a new dawn in utopia.
It's surprising just how good this score is, every cue perfectly compliments and augments the scenes they are accompanying whilst still being so enjoyable to listen to away from the movie - Davis manages to maintain this superior level of writing at all times with hardly any dull moments (at least in the fully orchestral cues anyway). The Matrix Revolutions is certainly an important achievement in film scoring not to mention Davis' career and is one of the best examples of modern action scoring if not one of the best in the genre, it's thrilling and always impressive, a master class in counterpoint, orchestration and musical development and above all, a highly enjoyable listen. Perfection.
Breathtaking While opinions on the movie of the same name are all over the map, one thing everyone agrees on is the incredible musical score to "The Matrix Revolutions" (warning: This review contains spoilers to the movie, so read with caution)
The Matrix Revolutions main title: The always haunting musical opening to the movie. Very good
The trainman cometh: Starts off gentle and happy, with Neo talking to Sati and her family. Calm, relaxing music plays while they talk, before beats start to come in, transfering to a frantic chase that goes along at breakneck speed in a fast beat.
Tetsujin: A quiet start with a foreboding Asian beat hints that its not all fun and games here. After a quick Asian beat down, we get some quiet harp and bean shakers. And then it's an all out war as electronic beats pulse while our heroes blast the oposition to smithereens.
In my Head: The only song on this track (thank goodness), this is actually quite catchy. I'll never be a fan of rock n roll, but this track is quite fun. Heavy on electronic insturments and only mild vocals, its a memorable song.
The road to sourceville: A quiet start shattered by a fast vocal, followed by quiet happy music as Neo is reunited with Trinity, then slow atmosphere while they visit the oracle for the last time.
Men in Metal: As the battle draws ever nearer, the war insturments (drums and such) begin to play as the soldiers prepare for the inevitable battle. A rousing speach gives them strength. This track is heavy on preparation music, and uses it well.
Niobies run: Quiet and atmospheric as Niobie and the others head closer to the tunnel, the music indicating the uneasiness as they try to slip past the sentinels. But of course they get spotted. Then its an all out frantic race as they zoom deep into the earth to try and escape with thier lives. In the Zion dock there's a few seconds of final preparation before the grim fighting begins. This track is heavy on "race for your life!" music.
Woman can drive: Things get desperate as the battle to save Zion continues. Niobie struggles to pilot the hammer to safety while being attacked non-stop. This track features more frantic racing and fighting music with drum beats.
Morbid Mifune: Pure war. This track excellently captures the horror and the hopelessness of the dock battle. The humans are doomed, but they keep fighting. With quick military beats and haunting vocals, this is a standout track. My favorite moment begins when the music is loud and filled with military beats as we see Mifune fighting for his life. As the kid tries to get ammo to him, the music truly shows how hopeless everything is, while also showing the will to keep fighting and not give up. A quiet military beat follows with the death of Mifune.
Kidfried: Thundering blasts as the Hammer closes in on Zion, followed by haunting vocals, and a standout moment where the Hammer zooms into Zion, where the music is heavy and quick and the vocals compete with quick beats as the end of the frantic race is in sight. Then all is quiet and calm as the first battle is won.
Saw B***h workhorse (what an odd name): The gloom of the real world shows itself as Neo and Trinity head towards the machine city. When they reach it's borders, heavy beats and ominous vocals give the feeling on huge bemoths guarding its borders. Yet hope remains among the chaos as we witness the wonder of Neo's power. A strong and gloomy (yet hopeful) track.
Trinity definitly: Out of all the tracks in all the matrix movies, this one stands out among the others. Its a pure musical track, with no electronic enhancments, no fancy beats, nothing. It's simply sad, quiet orchestra music. As Trinity lies dying within the Logos, Don Davis does a standout job of conveying the sadness of her death. I actually cried a little when I first heard this one because it's so sad, yet at the same time, dignified. It has an identity all its own because its so different from the music we've heard before. A standout track.
Neodammerung: If there was ever a contest to determine the best one on one fight music ever made, this would be in the top three. It's the apacolypse mixed in with heavy dramatic beats as two foes fight to the death, each carrying incredible power. You can really feel the dramatic wieght contanined within each beat as Neo and Smith face each other for the final time. The haunting vocals adds so much to the experience that its impossible to imagine the music withought them. When the two take to the skies, the music increases in drama and epic scope as the two fight high above the ground. Then theres the final moment where the two head straight towards each other, readying for the final blow that will determine the fight. I get goosebumps every time I hear it.
Why Mr. Anderson?: As Smith stands over the beaten Neo, he asks him why he does it. The music is sad and curious. The end is near. We can feel that Neo is beaten and how exhausted he is. A final brief fight commences before Smiths raw power and fury shows itself through quick and hard beats. Then the music swells in triumph as Smith is finally defeated before quietly drifting into nothing as "it is done"
Spirit of the universe: Happiness is mingled with sadness in this track. Everything is happy, yet the sad vocals appear when Neo's body is taken away. Then the music slowly swells upwards as the end arrives. Everything is over and finished. Then the music finally swells one last time as the sun rises in a big happy moment.
Navras: Fantastic vocals (male and female) really define this track as just about every insturment comes into play here. Drums, australian digery doos, pianos, electronic beats, and flute music comes into play for one grand finale of music. Truley stunning, and tied with Neodammerung as best track on the CD.
In my humble opinion, the third matrix movie has the best music of the entire trilogy. It's hard edgy no-nonsense action music, untainted by unnecessary songs. It's all insturmental and hard hitting, making it a truley magnificant soundtrack that I listen to almost everyday. A truly worthy buy.
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Trevor
Megaton Man
