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Inception (Music From The Motion Picture)

July 9, 2010 | Format: MP3

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Product Details

  • Original Release Date: July 9, 2010
  • Release Date: July 9, 2010
  • Label: Reprise/WaterTower
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 49:15
  • Genres:
  • ASIN: B003U9TDII
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (162 customer reviews)
  • Amazon Best Sellers Rank: #5,776 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Most Helpful Customer Reviews

52 of 54 people found the following review helpful By James W. Janeri on July 15, 2010
Format: Audio CD Verified Purchase
Listening to film music, I've found that the "great" composers adapt to the story ... and to their director's vision. I've liked a lot of Hans Zimmer's scores over the years, but not "on purpose". I thought he was more of a "corporate" composer (i.e., Pirates of the Caribbean), doing big-budget and obvious scores. But then I started to really listen to his work. I really liked Mission Impossible II ... I liked his mix of Spanish influences and electronica (who can do that!!? = Hans, I learned). Batman Begins (w/ James Newton Howard, one of my favorites) was "great". I didn't think they'd top that. Then ... The Dark Knight. Outside the box in so many ways. I've listened to it constantly since it was released. Then, he surprised me with Sherlock Holmes! WOW! Completely unexpected! That's when I realized that this guy really absorbs what the director is trying to do .. and then contributes what he can with the score. That SH score really rounded out that film.

Inception is outstanding. I agree that "Dream is Collapsing" is the most memorable song. And I'd counter that "Mombasa" is not what you were expecting ... but then becomes very powerful. The rest is an aural journey into one's imagination. I hear echoes of Tubular Bells, The Last Emperor, The Saint, great chase scenes, and some faceless sci-fi films (not sure which ones, but the musical cues are there). I even hear Pink Floyd's Dark Side of the Moon in "Waiting for a Train". I realized that since the film has not been released yet at the time of me writing this, that in the meantime I've created images and story lines in my mind. In fact, though I know this film will be amazing, I'll be a little saddened when the actual film's imagery replaces mine. It is a soundtrack to the imagination ... or perhaps ... dreams. :)
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51 of 58 people found the following review helpful By Matches Malone on July 13, 2010
Format: Audio CD
My past experience with Hans Zimmer had always being similar to my experience with the Yankees in the sense that he was a composer that I loved to hate. After the brilliant and daring "Sherlock Holmes" all negative feelings are almost gone and replaced with respect and a wee bit more understanding into how the man's mind works. With "Inception" Zimmer gets back with Nolan and despite the movie supposedly being a mind altering and highly intelligent experience, the score is pretty direct and in your face with very little subtleties.

The album is largely an atmospheric album, the closest thing to a theme I could pick up was a long drawn out two note motif reminiscent of his stuff for Nolan's Batman movies. It's a very simple little statement but works amazingly well on the album. The motif is first heard on "Dream is Collapsing" which is pound for pound my favorite piece of music all year. I became obsessed with the track after hearing it on the movie's website and now glad I get to play it ad nauseam on my little Zune. Was blasting it today whiles driving and it's amazing to listen to when you're speeding on the highway. Makes one feel like a complete bad*** when racing down the highway with the enormous brass section just yelling right in your face then you have the strings weaving in and out and some very cool guitars to help complete the total bad*** feeling. Say what you want about Zimmer, the man knows how to do exciting music.

"Radical Notion" is a track that walks in familiar territory in terms of the string ostinatos that we're accustomed to from "The Dark Knight" but is not just a copy and paste job. Starts off playing the main motif rather dramatically then dips into some too cool for school stuff before playing around with the little motif some more.
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124 of 149 people found the following review helpful By John Green, NCGBT VINE VOICE on July 18, 2010
Format: Audio CD
"I'm not interested in the massive heroic tunes anymore. Now I'm interested in how I can take two, three, or four notes and make a really complex emotional structure. It's emotional as opposed to sentimental. It's not b-s heroic; it has dignity to it."

This quote from Hans Zimmer about his approach to scoring Inception reveals both its strengths and weaknesses. The two-note motif ideal popularized in the Batman Begins score comes full circle here, and like in previous works is both effective yet overused. Nearly every track is built around differing two-note motifs layered upon each other but as Zimmer states above, there's no identifying themes for the characters; it's all based upon the emotional impact of the scene itself.

Empasizing this is an anecdote about how Nolan refused to grant Zimmer any spotting sessions (previewing a rough cut of the film); all the themes were formed from Zimmer's impressions of the characters from the script. It was only in the post-sessions that the suites and cues were tailored to fit the sequences- some Radical Notions, indeed (Special thanks to Tuco for reminding me of this!). At times it can be compelling, but also often ends up as background noise as there's not enough to hold your attention for long- mine drifted more than once while listening to this. To be fair, this is one where you really should see the movie in order to fully appreciate it. The atmospheric composition and overall ambient feel compliments the movie perfectly.

Some highlights: *Potential Spoilers Alert*

We Built Our Own World- Built upon a two-note pulsing rhythmic base underneath another two-note synth key, it captures Cobb's emotional arc while revisiting the dreamscape he and Mal fashioned together.
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