lthough there's little argument that the look of The Matrix is groundbreaking, comparatively few fans have taken the time to acknowledge the equally pioneering audio environment offered by the music. The scores for the first two films were inventive and impressive, but the most multifaceted melodies were clearly saved for the final installment. Each of the 16 cues on The Matrix Revolutions soundtrack is intricate and comparatively intense, affording composer Don Davis an opportunity to more fully explore and exploit the stirring sonic surroundings he previously crafted for the franchise.
Works like "Men in Metal," "Woman Can Drive" and "Kidfried" combine symphonic elegance with nerve-racking edginess, forming frenetic yet formidable overtures brimming with stark strings and roaring brass. "Trinity Definitely" serves as a soft, sensuous interlude, while the initially inviting "Niobe's Run" adds a touch of tranquility before exploding into a furious finale. Several pieces also showcase vocal components, with daunting voices adding distinguished, rather divine, moments to "Moribund Mifune," "Saw Bitch Workhorse" and the riotous "Neodämmerung," and a quieter, more pious chorus elevating the heavenly "Spirit of the Universe."
Along with a single source cue, "In My Head," by the band Pale 3, the album showcases a couple of vibrant collaborations—"The Trainman Cometh" and "Tetsujin"—between Davis and Juno Reactor, a talented techno ensemble featuring a fluid lineup anchored by British musician Ben Watkins. A lengthy remix by that group of some of The Matrix series' signature motifs
concludes the collection.
Dynamic melodies define The Matrix
In fashioning the Matrix universe, creators Andy and Larry Wachowski have been, in the words of producer Joel Silver, "as precise and passionate about the music as they are the visuals, the performances and the writing." The brothers consequently charged Davis with penning melodies not only for all three movies, but also for the various spinoff projects. As a result, the composer has written more than eight hours of material for the franchise, with his work on The Matrix Revolutions plainly functioning as a brilliant and breathtaking climax.
Brooding horns, rumbling percussion and muted artificial tones resonate throughout "Why, Mr. Anderson?", leading listeners into an otherworldly atmosphere sporadically punctuated by shrill violins and majestic choral flourishes. Simultaneously tranquil and troubling, the tune is an inspired amalgam of peacefulness, pressure and passion. Powered by thunderous voices and opulent orchestral bravado, "Neodämmerung" is a marvelous mixture of unbridled exuberance and exhilaration, hyperbolically augmenting the picture's messianic message with outstanding operatic grandeur. Even short pieces, such as "The Matrix Revolutions Main Title" and "The Road to Sourceville," possess an extraordinary ambiance that's captivating and charismatic.
The contributions of Juno Reactor are similarly significant, especially on "Navras" (the CD's closing track), which cleverly reworks a number of the trilogy's key cues, including, most notably, the accompaniment for the astounding "Burly Brawl" sequence in The Matrix Reloaded. Despite a few instances where the score becomes a bit too bombastic, Davis' creations for The Matrix Revolutions are dynamic and, though perhaps not quite as revolutionary as the film's title might insinuate, downright ingenious.
