Matrix had a powerful avant-garde Davis' score, which divided the screen time with some rock-electronic music. On disc, we had available one song compilation and a separate 30 minutes long score album from Varèse Sarabande. For Matrix Reloaded Davis wrote a lengthier and richer score (unfortunately the 2-CD set omitted great part of it), in some cases combining the singers and the orchestra with the pulsating electronic rhythms of the Juno Reactor trio. At last, for Matrix Revolutions Davis' lush, orchestral music finally is the central source of attention, with the pop and electronic sounds relegated to a very secondary level.

The 'Revolutions' score album includes over an hour of music, with almost 50 minutes of orchestral underscore by Don Davis, performed by over 200 instrumentalists and vocalists. The only song featured is the misplaced "In My Head" by Pale 3, which plays in the Merovingian's Hell Club. Also, there are two score tracks that feature Davis' collaboration with Juno Reactor, and a nine minute End Credits Juno's re-mix of "Neodämmerung" ("Nevra"), featuring chorus and odd Mid-Eastern female vocals. However, even in Juno Reactor's score tracks it's Davis' work that prevails.

The film depicts the last efforts from Neo (Keanu Reeves), Morpheus (Laurence Fishburne) and Trinity (Carrie-Anne Moss) against the Matrix and its legion of machines, which have enslaved the entire human race, to save the last real-world city, Zion. This epic finale, very criticized for display more action than an intelligent plot, is largely benefited by two hours of Don Davis music. The score's greater length was required due to the extensive, epic battle sequences littered throughout the film. Once again there is a lot of music missing on the CD, anyway the series final album is complete enough to satisfy the vast majority of listeners.

In "Logos/Main Title" the series musical signature, a dual-chord motif on brass, opens the album. As usual, the main credits sequence is slightly different from the prior films, even in musical terms. This time the theme is more dramatic, representing the capital events that will lead the trilogy to an end. "The Trainman Cometh" and "Tetsujin", the collaborative tracks with Juno Reactor, are essentially Davis' score with minimal synthesized accompaniement. The first cue marks the first and brief appearence of Neo and Trinity's theme, one of the best Davis' creations. The latter displays an appealing use of the Kodo drums, before the electronic rhythms start. "Men in Metal" performs a militaristic variation of the Zion motif first heard in 'Reloaded', while we see the 'Mechwarriors' of the last free human city preparing for battle.

"Niobe's Run" features Matrix action music at its best, starting with suspense chords soon to be replaced by the well known Sentinel motif, that develops into an exciting chase cue. "Woman can Drive" is a superb action track that ponctuates Niobe's wild run in the ship, conducted by fast strings and loud brass. "Moribund Mifune" and "Kidfried" are the best examples of Davis' battle music that underscores the astounding machine attack to Zion. The first cue starts with dramatic chorus and strings, with a sad trumpet at the end to signal the death of the brave warrior. In the second cue, the ensemble strikes at full force, and rises to poignant levels when some human bravery occurs on the screen.

"Saw Bitch Workhorse" is made by powerful music to describe some nightmarish visions at the Machine City, and to underscore Neo's confrontation with the Sentinels. But definitively the score's highlight action cue is "Neodämmerung", which starts with choral chants in Sanskrit with a percussive piano at the background. The track underscores the final fight of Neo against Agent Smith, and is plenty of harmony and atonality elements, with the orchestra providing brilliant statements on some of the film main themes. The next track, "Why. Mr. Anderson?", is a dramatic cue that ponctuates the final destination of Neo and Smith.

In a more melodic level, "Trinity Definitely" is a gorgeous track that, after a sad intro, delivers the most touching and melancholic rendition of the series love theme, with great cello and horns performances. Another highlight in this area is "The Road to Sourceville", which follows Neo and Trinity's journey to the Machine City with a very nice strings and brass work. The last score cue, "Spirit of The Universe" employs full orchestra with choir, a boy soprano voice and a rolling harp adding the religious tones of the film final message, before the dual-chord theme leads us to a last, thunderous blast from the orchestra.

In short, Davis' 'Revolutions' combines the well known dissonant Matrix sounds with more harmonic, melodic and epic music, polishing all the series dominant motifs and, in the end, creating the best score in the series. Highly recommended.

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