Customer Reviews

The Matrix Revolutions

5 star:		(34)
4 star:		(17)
3 star:		(5)
2 star:		(5)
1 star:		(0)

 

 

Now the third piece in an outstanding body of work, Don Davis (with a little help from Juno Reactor) has constructed a golden, dynamic symphony. The amazing talent and technical ability that this work demonstrates is astounding. Instead of tired, endless themes (a la John Williams), Davis gives us exquisitely beautiful constructs, where instruments rotate and cascade and pour over each other into a delicate tapestry. The only way to experience it is to listen to it -- words can't do it justice.

The "Main Title," "Niobe's Run," "Neodammerung" and "Navras" are standouts. If you're into something innovative, unique and beautiful in the world of Neo-Classical music, look no futher.

* And to those out there who have complaints and are confused about this 95% score album-- TRY READING THE BACK OF A CD BEFORE YOU BUY IT. The track and artist listing is there for a reason.

Don't recognize a "fellow named Don" ? Then skip this and check out another typically pop-inflected soundtrack. There are hundres of albums out there with music "INSPIRED BY," but having nothing to do with, the film. Don't be an idiot and expect something that isn't even presented as such.

Film soundtracks aren't always just a collection of random songs-- most times, they're a celebration of a modern interpretation of classical music. Also, when you see a movie whose soundtrack you might purchase -- LISTEN TO THE MUSIC DURING THE MOVIE! Then you won't be so shocked.

THE MATRIX REVOLUTIONS score, like RELOADED and MATRIX before it, is a classic. Check it out if you have the balls and the brains to accept, understand, and experience.

Let's get the geekery out of the way:

The film doesn't provide as much of an ending as I had hoped. Just like "Reloaded," the events (and everything The Oracle says) will make more sense with repeat viewing when the DVD comes out. I miss the rush, the newness of bullet-time days.

As for the score:
Thank God they stuck to film music this time! ENOUGH with Top 40 collections that do not relate to (or even appear in) movies. Don Davis' music has gotten a little bigger, a little "grander" with each episode. For this finale, the score is truly huge. Juno Reactor's collaboration fits perfectly, especially on the last track. This stuff is Wagnerian, full of Sanskrit choir and end-of-the-world crescendos.

Davis fits the music to the scenes. The "real world" music ("Men in Metal," "Niobe's Run," "Moribund Mifune") has a military thrust, appropriate to the "Saving Private Zion" battle. Inside The Matrix ("The Trainman Cometh" and "Tetsujin"), there's a more chaotic, techno style.

The second half of the album blows me away. Exaltant choir, mad swirls of strings and flutes, sledgehammer percussion, and wall-to-wall horn blasts. This music is more epic than the looooong Gilgamesh-inspired showdown between Neo and Smith. "Trinity Definitely" has a tragic beauty much like that of Anton Dvorak's "Largo" (from "The New World"). "Neodammerung" sounds like a world war. "Why, Mr. Anderson?" sounds like that world gettin' blowed up real good.

Juno Reactor comes back for the closing "Navras." You've got orchestra, choir, New Age wailing and techno all in one big dance track.

The CD is a satisfying conclusion to the trilogy. Crank it up.

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.

I got this today, the day before Revolutions is released, and I must say, I'm not disappointed. I knew that there weren't any Hard bands on here, that it was mostly Don Davis and Juno Reactor. After listening to it to it twice already, all I can say is "I'm psyched". Probably not as good as the 2nd disc of the Reloaded soundtrack, but it's pretty close. It's far more inspirational than I expected, and I love it.

This has been very nicely blended with the whole theme of story , of the other worlds, war and finally a cry for peace.

The translation of the Mantra praying to the guru for :
Asatho Maa Sad Gamaya\
Thamaso Maa Jyothir Gamaya \
Mrithyor Maa Amritham Gamaya\
Om.. Shanthi..Shanthi.. Shanthi\

Meaning:
Lead me from untruth to truth;
Lead me from darkness to light;
Lead me from death to immortality;
Om... Let there be Peace..Peace..Perfect Peace

Since i didn't buy the other two soundtracks, the fact that this one has actual music made FOR the movie is maybe not such a big deal to me. I would expect nothing less. But what WAS a big deal for me was Don Davis' and Juno's "Navras", a far out and funky 21st century melange of a Hindu sadhana playing as the credits start going up in the theater. I have been intoning the words to this chant in my head since i rediscovered it on the Ravi Shankar CD "Chants". If the innumerable direct references to Buddhism and Hinduism in these films wasn't obvious enough (from "there is no spoon" to little Sati on the subway platform, if the whole Matrix posse accepting their Academy Awards dressed like Mughal princes wasn't obvious enough, this powerful piece of music ought to take it right over the top. The amazing operatic techno adaptation at the end of the movie is actually a Sanskrit prayer that begs the guru to lead us from lies to truth, (from darkness to light), from death to immortality:
Asato Ma Sadgamaya, Tamaso Ma Jhyotir Gamaya, Mrityo Ma Amritam Gamaya, Om Shanti Shanti Ommmmmm.

Words cannot describe the execellence of this score. True the movie wasnt exactly what all of us were hoping for, but the music completely blew me away. I loved the chanting song from the Revolutions Trailer and wished it was in the actual movie somewhere. Turns out it was, BIG TIME! This score is very different from it's two predesesors mainly because it mostly leaves the techno behind for once. This score focuses mostly on operatic type music with chanting and precussion pieces espeically in the Zion Battle pieces. Juno Reactor still has placed some techno aspects into the score with the Tetsujin shootout, Trainman chase, and closing titles, but thats about it. The rest is all left to Don Davis, and he delivers! The most impressive piece on this score by far is Neodammerung. The music used during part one of Neo's ultimate face off against Smith in the rain. Listeing to this track makes me almost sweat. The fast paced chanting is so uplifting and moving that you completely lose yourself in it. The following track concludes the Rain Battle with an amazing climax and a haunting Gregorian Chant style as Neo is lowered infront of the Machine Leader. The concluding track, Navras, is a faster paced techno version of Neodammerung and extended several minutes longer. This is one of the greatest film scores in recent years next to Howard Shore's Lord of the Rings trilogy. The movie wasnt the greatest, but it's score is what really stands out.

Don Davis, in the past a pleasure and a disappointment, has finally outdone himself (miraculously) with a mighty score to an equally overwhelming movie. Anyone who has seen Revolutions already knows just how integral the score is to the film, I don't need to tout its virtues, but for those who collect audible greatness, this is one CD you shouldn't be without.

Like those before me, let me just reiterate: "There is no pop music". For those thinking they were left off of the CD, listen again: "No bloody pop music in the movie". The inclusion of Pale 3's "In My Head" is a likeable gothic accompaniment to the rest of the score, but luckily, the only remotely alternative addition to the CD or the film.

Buy it because it's good... love it because it's impossible not to...

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.

With this soundtrack Don Davis is finally given his just reward for the irreplaceable job he has done musically for the Matrix films, as are his numerous fans. Mr. Davis, who is generally overshadowed by less than spectacular junk rock songs supposedly "inspired" by the films, is freed from those unbearable bonds and is given an album dedicated almost exclusively to his masterful music. The sheer thrills to be derived from this brilliant orchestral music cannot be accurately described by a simple review. It must be experienced. Those looking for a compilation CD similar to previous Matrix soundtracks will be sorely disappointed, but those who have been craving the full treatment of the unequivicable listening experience Mr. Davis' brilliant music can provide will be completely satisfied, almost to the point of being overwhelmed. The few tracks that Juno Reactor provides touches on add a great electronic feel without becoming overbearing. This is a genuinely unrivaled listening experience. Rarely has there ever been so much powerful music put on one CD. Cheers to the record executives who finally realized how wonderful the actual music from the Matrix films, and the man responsible for it, truely is.