Enter the Matrix

Enter the Matrix

“It’s intense, high-energy, and fun”. While only two people found it helpful as a lonesome brief review for a vinyl …

It’s intense, high-energy, and fun”.

While only two people found it helpful as a lonesome brief review for a vinyl edition of Matrix 1999’s score, this excerpt will perhaps be met with an endearing affection among the avid fanatics.

Roll back to the final day of the last March before the turn of the 21st millennium: people stood frenzied, scratching their heads to purview the “Matrix”. What they had gathered from the eccentric teasers and TV spots, clueless excitement kept them brisk on feet. I remember the place was jam-packed and there was a real electricity in the air” sums up one Quentin Tarantino, who attended the opening evening of the bespoke flick.

The wide-mouthed audience was awarded duly for their patience, or the lack of it. Though delving into the nitty-gritty of cinematography, which I might add, is known to most enthusiasts in utmost veracity, and won’t be my focus here. It was the pounding drums and brash underground techno involvement which input the sense of rebellious-ness among the varietal watchers. Be it a scene of eternally young faced Keanu Reeves as Neo finding out about the contorted reality of his on a seedy nightclub, or the sequel thereafter where he kicks the ever-living breath out of misc villains in “Reloaded”, even the hedonistic footage of Zion’s delirious celebrations on their sacred grounds; they were simply breathtaking moments to the eyes.

One half of the directors credited, Lilly Wachowski, openly admits her choice of Berghain-esque dystopian techno/Detroit electro for its significance to individuality and freedom. That and breaking from the digitized universe meant hammering the known into the freeing unknown, embracing the chaos that actually meant humanity. Composer Don Davis painted that message of electronic surrealism into his soundscape, which led to many film witnesses absorb dutifully the effervescent essence from the OST, molding them into lovers of the explosive genre everlastingly.

This tradition, nodded and embraced to extents in the latest “Resurrections” twenty years later, proves the remarkable pioneering this bold decision brought about. Revered contemporary techno acts paid their homage with recent remixes, including veteran Marcel Dettman.

To readers who have shied-ly put on their list of watching the trilogy, my words: What are you really waiting for? Break from the illusion that is the matrix, ASAP!