"Butterfly Effect 3: Revelations" Soundtrack Lyrics

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"Butterfly Effect 3: Revelations" Soundtrack Description

Questions and Answers

Is there an official soundtrack album?

Yes. An official album—largely score by Ádám Balázs with a handful of source tracks—was released in 2009 and is available on major platforms. (according to Apple Music)

Who composed the score?

Ádám Balázs composed the original score; additional music production/mixing is credited to Miklós (Miklos) Malek on production listings. (as stated on IMDb Pro summaries and tech spec databases)

Are there licensed songs in the film too?

Yes. Alongside the score, the film uses cuts like “Rewind,” “Human Race,” “Chiang Mai Disco,” and “Aleho (U Lovin’ Me),” among others, which appear on the album or are catalogued in soundtrack indexes. (according to Ringostrack and IMDb Soundtracks)

Does the album include dialogue or only music?

It’s music-only: score cues (“Opening Titles,” “Rebecca’s Murder,” “The Final Jump”) plus a small selection of songs.

When and where did the film release?

It screened at After Dark Horrorfest in January 2009 and went to DVD/Blu-ray afterward; it’s set and largely shot in Michigan. (as stated on Wikipedia)

How does this sequel’s music differ from the earlier films?

Compared to the first film’s mix of alt/rock songs and Michael Suby’s score, this entry leans heavier on tense electronic/orchestral score textures with only a few diegetic/source tracks.

Notes & Trivia

• The score credit appears as Ádám Balázs (a.k.a. Adam Balazs) in English-language listings. (according to Wikipedia)
• Streaming editions of the album run about two dozen tracks and blend score cues with a few songs—unusual for a horror-thriller of this scale. (as shown on Spotify)
• Several song entries (“Street Life,” “Time Out,” “Stems and Seeds”) are co-credited to director Seth Grossman and Balázs, reflecting bespoke source cues created for the film. (according to IMDb Soundtracks and Ringostrack)
• The movie premiered in After Dark Horrorfest’s “8 Films to Die For,” then went straight to U.S. video—music clearances were therefore tuned to DVD/Blu-ray use more than radio marketing. (as stated in Wikipedia’s release notes)
• Tech credits list Miklós Malek in additional music production/mix roles, a name you’ll also spot on pop records—an interesting crossover. (industry credits databases)

Overview

What happens when a time-travel thriller ditches wall-to-wall needle-drops and trusts a nervous, propulsive score? Revelations answers with Ádám Balázs’s taut electronic-orchestral writing—throbbing synth beds, insistent ostinatos, and sharp, metallic hits. The few songs that surface feel like grit under the narrative’s fingernails: clubby interludes, grimy diegetic tracks in bars or parties, and ominous groove cues.

The album mirrors that balance. It opens with scene-setting cues (“Opening Titles,” “The Second Jump”), spikes into set-piece writing (“Rebecca’s Murder,” “Searching for Goldburg”), and lands on the franchise-appropriate catharsis of “The Final Jump” and “A New Future.” The result: a soundtrack that plays like a thriller suite with occasional dirty-pop detours. (as stated in Apple Music’s 2009 listing and highlighted in Discogs entries)

Genres & Themes

• Hybrid thriller score: analog synth pulses + small ensemble strings for dread and propulsion.
• Industrial/club color: sparse, beat-forward source cues paint Detroit’s night spaces.
• Motivic time-looping: short repeating figures echo the plot’s repeat-and-twist structure.
• Melancholy release: closing cues soften the machinery with minor-key lyricism for the “reset” ending.

Tracks & Scenes

Scene beats below are aligned to documented cue titles and widely noted song listings; exact timestamps vary by cut.

“Opening Titles” — Ádám Balázs (score)
Where it plays: Title sequence and setup; Detroit exterior establishing shots.
Why it matters: Announces a colder, more clinical palette than earlier franchise entries.

“Rebecca’s Murder” — Ádám Balázs (score)
Where it plays: The inciting crime sequence and its aftermath.
Why it matters: Metallic textures + grinding low synths pin the film’s moral center.

“The Second Jump” — Ádám Balázs (score)
Where it plays: Early test of Sam’s time-jump method; visual stutters match rhythmic loops.
Why it matters: Turns the jumping mechanic into a musical engine.

“Street Life” — credited to Ádám Balázs, Seth Grossman & Astal (song)
Where it plays: Bar/party ambience when the investigation brushes up against Detroit nightlife (diegetic).
Why it matters: Source grit that grounds the otherwise clinical time-loop sequences. (according to IMDb Soundtracks)

“Human Race” — Darius Lux (song)
Where it plays: A transitional montage as Sam tracks down leads across the city (non-diegetic/source-adjacent).
Why it matters: Injects a propulsive, pop-leaning momentum between heavy score passages. (as indexed by Ringostrack)

“Chiang Mai Disco” — Ádám Balázs (song/source cue)
Where it plays: Club interior—strobing lights and quick cuts during a lead chase (diegetic).
Why it matters: A knowingly synthetic pocket of color inside the bleak palette. (as indexed by Ringostrack)

“Rewind” — Kelly Barnes (song)
Where it plays: Over a reflective beat when Sam considers undoing yet another thread (non-diegetic).

“Searching for Goldburg / The Final Jump / A New Future” — Ádám Balázs (score suite)
Where it plays: Late-film investigation and the climactic reset.
Why it matters: The score’s most narrative-heavy run—motifs collide and finally resolve.

Music–Story Links (characters & plot beats as connected to songs)

• Loops as leitmotif: Repeating ostinatos mirror Sam’s iterative jumps—each return slightly warped, just like the patterns in the strings and synths.
• City vs. science: Club/bar cues (“Street Life,” “Chiang Mai Disco”) keep yanking the story back to messy human spaces the sterile jump tech can’t control.
• Guilt engine: The Rebecca-cues carve out the film’s emotional stake; later reprises bend the harmony without ever letting him off the hook.
• Reset rhetoric: The closing suite lands in minor-key uplift—earned but uneasy—matching the butterfly-logic of “a better future, at a cost.”

How It Was Made (supervision, score, behind-the-scenes)

Composer Ádám Balázs scored the film with a compact, hybrid toolkit; production credits also surface Miklós Malek on additional music production/mixing. The soundtrack release packages score cues with a few songs and was distributed digitally in 2009, with later streaming reissues listing ~25 tracks. Music usage was cleared primarily for festival/straight-to-video release patterns rather than radio-forward marketing—typical of After Dark Horrorfest titles. (according to Apple Music, Discogs, and Wikipedia)

Reception & Quotes

“A very mild improvement over the nigh unwatchable Butterfly Effect 2.” Reel Film Reviews

“Third time’s the charm—sort of. It’s still grimy, but at least it moves.” Fan consensus summaries

Critics were mixed-to-negative on the film overall, but the leaner, score-forward approach matched the sequel’s scaled-down ambitions (as summarized in Wikipedia’s reception section). (according to NME magazine)

Technical Info

• Title: The Butterfly Effect 3: Revelations — Original Motion Picture Soundtrack
• Year: 2009
• Type: Movie
• Composer: Ádám Balázs
• Additional music production/mix: Miklós (Miklos) Malek (credited on industry pages)
• Label/format: Digital release (2009), ~25 tracks on streaming editions
• Key songs (selected): “Rewind” (Kelly Barnes); “Human Race” (Darius Lux); “Chiang Mai Disco” (Ádám Balázs); “Aleho (U Lovin’ Me)” (David Schommer); “Street Life” / “Time Out” / “Stems and Seeds” (film-originated source cues)
• Release context: After Dark Horrorfest screening (Jan 2009); U.S. DVD Mar 31, 2009
• Setting/production: Set and mostly filmed in Michigan/Detroit
• Availability: Streaming on Apple Music/Spotify; digital storefronts carry the album

Canonical Entities & Relations

Subject	Relation	Object
Ádám Balázs	composes	The Butterfly Effect 3: Revelations (score)
Miklós Malek	additional music production / mix for	The Butterfly Effect 3: Revelations (album/score)
Seth Grossman	directs	The Butterfly Effect 3: Revelations (2009)
Holly Brix	writes	Screenplay
After Dark Horrorfest	premieres	Film (Jan 2009)
Apple/Spotify	stream	Official soundtrack album
Lionsgate / After Dark Films	release	Home media (U.S.)
Detroit, Michigan	serves as	Primary setting/filming location

Sources: Wikipedia (film page & credits, release); Apple Music album listing; Spotify album page; Discogs release notes; IMDb Soundtracks & title page; Ringostrack song index; official trailers.

October, 26th 2025

'The Butterfly Effect 3: Revelations' is a 2009 American science fiction psychological horror film directed by Seth Grossman. More on Wikipedia and IMDb.com

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