Jeff Mills – Metropolis

Perfect movie for this Jeff Mills style mind .....

Maybee a golden release

'Perfecture:somewhere around now' is a real sensual beauty.strange slightly jazzy chords slide around amongst a bird-like twittery synth.

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.

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.

excellent sountrack revision

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.

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.

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.