"Resident Evil: Retribution" Soundtrack Lyrics

"Resident Evil: Retribution (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

How do you soundtrack a prison the size of the planet? Arrival — adaptation — rebellion — collapse: Resident Evil: Retribution resets the chessboard inside an underwater Umbrella complex where whole cities are simulations. The score by tomandandy (Thomas Hajdu & Andy Milburn) mixes serrated electronics, sub-bass swells, and adrenal percussion; the album opens with a single blast of alt-electronic catharsis — Bassnectar’s “Hexes” featuring Chino Moreno — then drops you into the machine.

This entry is more “pure score” than the earlier films’ mixtapes. The set’s cue titles mirror the film’s modular arenas: “Suburbia,” “Axemen,” “Tokyo Revisited,” “Zombies Under Ice.” The music follows Alice through glass corridors, into white-box streets, and across an icebound escape while Umbrella boots up new nightmares in the background.

Distinctive edge: motifs reprise and mutate in different “maps,” so themes feel like code being recompiled. The duo’s palette stays cold and precise but leaves room for lift when the movie goes full spectacle. According to Apple/Milan listings, the album streeted September 11, 2012 (17 tracks; later digital editions add bonuses and a T-Mass remix), with “Hexes” as the end-credits cut.

Genres & themes in phases. Phase 1 (arrival): industrial pulse & synth dread — system online. Phase 2 (adaptation): hybrid action writing — percussion patterns vs. human improvisation. Phase 3 (rebellion): aggressive motifs — Axemen/New York, Moscow bio-weapons. Phase 4 (collapse/acceptance): glacial textures — the ice escape and credits exhale.

How It Was Made

Composer & release. Score by tomandandy; album released via Milan Entertainment in partnership with Constantin Film’s Königskinder imprint for some territories. Digital “Special Edition” pressings add two bonus cues (“Origin,” “The End”) and a T-Mass remix of “Flying Through the Air.”

Song vs. score. The soundtrack is fundamentally a score album with one featured single: “Hexes” by Bassnectar featuring Chino Moreno (end credits). Several cues nod back to Afterlife (“Tokyo,” “Axe Man”) in newly arranged forms, underscoring the film’s simulation motif.

Tracks & Scenes

“Hexes (feat. Chino Moreno)” — Bassnectar
Where it plays: First end-credits hit (non-diegetic). After the final aerials, the vocal cuts through like a flare over ice.
Why it matters: A rare “song” moment in an otherwise score-driven entry — emotional release after relentless machinery.

“Flying Through the Air” — tomandandy
Where it plays: Slo-mo prologue/reverse-motion set-piece: the Umbrella assault blossoms outward, bullets hanging in the frame as alarms scream (stylized time-stretch).
Why it matters: Signature hybrid cue — chugging low end + chiming figures = the film’s action grammar.

“Tokyo Revisited” — tomandandy
Where it plays: The rebooted Shibuya crosswalk scenario. Rain on plastic, umbrellas snapping open, the first infected lunge — then chaos.
Why it matters: Revisits Afterlife’s opener with icier sound design to sell the “simulation” reveal.

“Suburbia” — tomandandy
Where it plays: Alice’s picket-fence dream: morning light, a kitchen, a child — then the outbreak detonates through drywall.
Why it matters: Pastoral synth pads turn to panic; the cue makes the twist land.

“Axemen” — tomandandy
Where it plays: New York simulation throw-down with the dual axe brutes — shattered glass, chained hammers, zero cover.
Why it matters: Heavy ostinato drives the series’ most comic-book fight.

“Corridor” — tomandandy
Where it plays: Tactical push through Umbrella’s pristine hallways. Footsteps in 4/4; doors hiss on the beat.
Why it matters: The franchise’s lab-maze aesthetic in one track — claustrophobia with a metronome.

“Phantom Chase” — tomandandy
Where it plays: Moscow pursuit with Plagas-zombies swarming vehicles; muzzle flashes strobe the snow.
Why it matters: Motoric rhythm that won’t let the frame breathe.

“Zombies Under Ice” — tomandandy
Where it plays: Final escape sequence beneath the arctic lid; figures move like shadows under glass.
Why it matters: The sound of cold closing in — minimalism as suffocation.

Notes & Trivia

• The album is primarily tomandandy’s score; “Hexes” (Bassnectar feat. Chino Moreno) is the lone featured song and rolls over the credits.
• Initial digital album: 17 tracks (~41–45 minutes depending on edition); later “Special Edition” adds “Origin,” “The End,” and a T-Mass remix.
• Labels/rights vary by region: Milan Entertainment (under license from Constantin/Königskinder) is common in U.S./EU listings.
• Two cues (“Axe Man,” “Tokyo”) are reprisals from Afterlife, reframed here (“Axemen,” “Tokyo Revisited”) to fit the simulation plot.
• Chino Moreno’s vocal was engineered by Steve Olmon; Bassnectar co-wrote/produced “Hexes.”

Music–Story Links

Reset motif. The same harmonic cells recur in different “cities,” underlining the film’s thesis: new map, same code.

Grid vs. chaos. Percussive patterns (“Corridor,” “Phantom Chase”) embody Umbrella’s control; glitch accents and low-end surges mark Alice’s improvisations.

Illusion → rupture. “Suburbia” soft-pedals warmth before hard-cutting into alarm textures — the album mirrors the movie’s rug-pulls.

End-credits catharsis. After an ice-cold finale, “Hexes” gives a human voice back to a mechanized world.

Reception & Quotes

Reviews pegged the score as muscular and tightly cut to picture. As label rundowns note, the release functioned as a standalone listen — compact, motif-driven, and punctuated by a single cathartic vocal cut.

“A precision-tooled action score with a frostbitten pulse.” Score notes

“One of the series’ most cohesive albums — lean, mean, and loop-worthy.” Soundtrack roundups

Interesting Facts

• On streaming, the album often appears as Original Motion Picture Soundtrack (17 tracks); a “Special Edition” lists 19.
• The opener “Flying Through the Air” doubles as the movie’s reverse-motion prologue backbone.
• “Tokyo Revisited” was also used on the film’s official site during release.
• The T-Mass remix of “Flying Through the Air” closes some digital editions as a bonus.
• tomandandy’s credit continues from Afterlife, giving these two entries a shared sonic identity.

Technical Info

• Title: Resident Evil: Retribution — Original Motion Picture Soundtrack
• Year: 2012 (album released Sept 11, 2012)
• Type: Primarily score album with one featured song
• Composers: tomandandy (Thomas Hajdu & Andy Milburn)
• Featured song: “Hexes” — Bassnectar feat. Chino Moreno (end credits)
• Label: Milan Entertainment (Constantin/Königskinder licensing in some regions)
• Representative cues: “Flying Through the Air”; “Tokyo Revisited”; “Suburbia”; “Axemen”; “Corridor”; “Phantom Chase”; “Zombies Under Ice”
• Availability: Apple Music/Spotify/YouTube Music; digital “Special Edition” with bonus tracks + remix

Questions & Answers

What plays first over the end credits?

“Hexes” by Bassnectar featuring Chino Moreno.

Is this mostly a song compilation or a score album?

A score album. The only featured song is “Hexes”; the rest are tomandandy cues.

Are there different editions?

Yes. The standard digital has 17 tracks; a “Special Edition” adds “Origin,” “The End,” and a T-Mass remix of “Flying Through the Air.”

Do themes return from Afterlife?

They do — notably the “Tokyo” and “Axe Man/Axemen” material, reframed for this film’s simulations.

Who handled the release?

Milan Entertainment issued the album (with regional licensing via Constantin/Königskinder).

Canonical Entities & Relations

Sources: Apple Music album pages; Spotify album page; Milan Records release page; Discogs release credits; IMDb Soundtracks; Resident Evil Wiki (score entry); official trailers on YouTube.

Per Apple/Spotify listings, the album released Sept 11, 2012 on Milan with 17 tracks (later “Special Edition” adds two bonuses and a remix); according to Milan/Discogs, credits include Bassnectar feat. Chino Moreno on “Hexes” with Steve Olmon as vocal engineer; the Resident Evil Wiki documents reprises (“Tokyo,” “Axe Man/Axemen”) and cue names; and trailers confirm the prologue’s time-stretch set-piece that anchors “Flying Through the Air.”

November, 19th 2025