Jeff Mills ‎– Metropolis

Tresor ‎– Tresor 155
CD, Album

Companies, etc.



'Metropolis' is produced, mixed and edited for Axis Records-USA. Inspired by Fritz Lang's 'Metropolis', 1926. Published by: Millsart/BMI. Copywritten: Axis Records 2000. Released by Tresor Records, a division of Interfisch Records GmbH.

On rear:
Made in EU.
℗ & © Tresor Records 2000.

On disc:
Made in the E.U.
℗ &© Tresor Records 2000.

Barcode and Other Identifiers

  • Barcode (Printed): 7 18755 61552 2
  • Barcode (Abridged): 718755615522
  • Mastering SID Code: IFPI L553
  • Mould SID Code (Var. 1): IFPI 94C4
  • Mould SID Code (Var. 2): IFPI 94Y3
  • Matrix / Runout (Var. 1): [Sony DADC logo] A0100333556-0101 13 A4
  • Matrix / Runout (Var. 2): [Sony DADC logo] A0100333556-0101 13 A2
  • Rights Society: GEMA
  • Rights Society (Publisher): BMI
  • Label Code: LC 07572

Other Versions (2 of 2) View All

Cat# Artist Title (Format) Label Cat# Country Year
Tresor 155 Jeff Mills Metropolis(CD, Album, Promo) Tresor Tresor 155 Germany 2000 Sell This Version
TRESOR10155CD Jeff Mills Metropolis(CD, Album, RE) Tresor TRESOR10155CD Germany 2010 Sell This Version


Reviews Show All 6 Reviews

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May 21, 2018

A concept album in which Jeff Mills took himself too seriously. The fast-paced tracks are so-so (if you're not fed up with Mills' signature jingle bells' chimes), but the "ambient" and "experimental" efforts fall flat.


April 30, 2014
Perfect album but it would be great to get the timecode to sync audio and video, since Fritz Lang's family blocked the DVD issue.


June 1, 2013
excellent sountrack revision


April 23, 2013
edited over 5 years ago

This is a truly remarkable Soundtrack that superates the quality of the original metropolis soundtrack. This is one of the best Jeff´s Albums, very classic (ex."entrance to metropolis") and dark(ex. "Blue print") , also a perfect album for dance (ex. "Revolt"). This Album shows how Jeff Mills sounds fit perfectly with black & white movies and the 19th century life in USA and Europe, even with his last sci-fi albums i still feel they are more suitable to be soundtracks for 19th black & white mute movies.

April 20, 2004
as above... I just want to add that it is a great experience to actually watch Fritz lang's movie with muted sound and put Jeff Mills albums instead, that will teach you not only a lesson of cinema but also a lesson of music. When you look at Detroit, it is no surprise to understand why Jeff Mills went adapting Metropolis ambiance to the style of music played in Detroit, after all, Detroit is a city which got rid of its machines.... when machines are not anymore, what's left is humanity.


September 17, 2003

Scoring a soundtrack to German director Fritz Lang's 1927 film Metropolis seems like a suitable task for Jeff Mills. The film itself is a landmark, not just of the silent era but of all time, surely one of the most visionary films ever, and Mills is known for his similarly visionary work as one of the world's most conceptual techno artists. The resulting soundtrack is definitely a monumental undertaking, further accentuated by Mills' roots in Detroit, a modern industrial wasteland not much unlike the fictional dystopia of Lang's film. The album goes scene by scene through the film, some tracks, like "Entrance to Metropolis," quietly foreboding while others, like "Flood," dizzily archaic. As you may expect, Metropolis resembles Mills' conceptual work more than it does his dancefloor work. More than anything, his X-103 project, Atlantis, and his Axis recordings, particularly the From the 21st album, are good touchstones. And when held up against these, Metropolis shines. You can sense the shifting sequences of the film, and it's quite thrilling toward the conclusion when the music intensifies. Mills relies primarily on synthesizers, forgoing the hard, banging percussion you sometimes correlate with him. In fact, only about half the tracks employ a percussive foundation while every one is awash in cold, eerie, inhuman synthesizer ambience. Furthermore, no single track stands out. All are parts of the whole and quite similar to one another in tone, differing mostly in terms of mood. Ideally, Metropolis should accompany the film's images, but if you've seen the film you can envision the corresponding scenes as you listen. And if you haven't seen the film, you should; it's magnificent. You don't necessarily need to, though, since Mills' work here is amazing on its own, but you'd be missing half the beauty of this soundtrack, which is as much adaptation and interpretation as it is invention.