Conducted by Don Davis

Orchestrated by Don Davis, Erik Lundborg, and Conrad Pope

Produced by Don Davis

Release Date: November 4, 2003

 Maverick / Warner Sunset

     Though moviegoers had to wait four years between the original Matrix film and its sequel, The Matrix Reloaded, the wait was reduced to a mere six months between Reloaded and the final film in the trilogy. Though opening to mixed reviews, Revolutions is still the final tour de force of the series and it's the first of the contemporary trilogies to be finally put to rest (with Return of the King culminating the Lord of the Rings trilogy in December, followed by a much longer wait for Star Wars Episode III). While The Matrix Reloaded took a unique twist in offering both a song and score CD in the same album (usually for the same price as a single CD), The Matrix Revolutions returns to its roots by consisting mostly of pure Don Davis score material (Rob Dougan is notably absent in this mix) and at being the longest of the legitimately released Matrix score albums.

     In bringing about the end of the trilogy, Davis reigns in the techno-presence of Juno Reactor (the only group returning from Reloaded), and pumps up the score with all the power he can muster from the orchestra and choir. The end result is nothing less than spectacular when the chorus comes into play and Revolutions works more akin to an epic version of the first Matrix score as opposed to the heavy (yet enjoyable) pounding techno that Reloaded continually pumped out. When the first truly epic choral cue springs through the speakers in Neodämmerung then culminates with the excellent Navras, your appreciation for this score will ultimately be swayed.

     Before that point, however, the music retains an atonal, atmospheric feel that only becomes interesting when Davis uses one of his recognizable motifs from the series. In that regard he uses them well because you’re constantly reminded of this being a Matrix score. Even so, the first third of the CD is relegated to background music and even the Juno Reactor-assisted cues never approach the intensity of the last handful of cues from the album or from anything found in Reloaded for that matter. That said, it’s nothing that hasn’t filled the scores from the last two films, so anyone purchasing this album shouldn’t be surprised at this type of construction in the score. Instead the big surprise is found in the last third where Davis lets loose with the orchestra and chorus and delivers an epic and highly satisfying finale to the series.

     Bottom line is this: if you have any interest in the scores from the Matrix trilogy, this is as good as it gets. While not as heavy as Reloaded, if you like more of pure Davis orchestral power, this is the album for you.

1 - Logos/Main Title (1:21)
2 - The Trainman Cometh (2:43)

3 - Tetsujin (3:21)
4 - In My Head (3:46)
5 - The Road to Sourceville (1:25)
6 - Men in Metal (2:18)
7 - Niobe's Run (2:48)
8 - Woman Can Drive (2:41)
9 - Moribund Mifune (3:47)
10 - Kidfried (4:49)
11 - Saw Bitch Workhorse (3:59)
12 - Trinity Definitely (4:15)
13 - Neodammerung (5:59)
14 - "Why, Mr Anderson?" (6:10)
15 - Spirit of the Universe (4:51)
16 - Navras (9:08)