Vertical Limit

Vertical Limit

(Original Motion Picture Soundtrack)

Music by

James Newton Howard

Renovatio Records proudly presents a new, expanded and thoughtfully restructured edition of Vertical Limit, featuring James Newton Howard’s powerful and emotionally charged score.

Released at the turn of the millennium, Vertical Limit stands as one of the last major mountaineering epics of its era: an intense, physically grounded survival story set against the unforgiving heights of K2. Directed by Martin Campbell (GoldenEye, The Mask of Zorro, Casino Royale), the film blends large-scale spectacle with a more intimate narrative centered on guilt, redemption, and fractured family bonds.

The story follows Peter Garrett (Chris O'Donnell), a photographer haunted by a past tragedy that cost the life of his father. When his estranged sister Annie (Robin Tunney), now a determined climber, becomes trapped near the summit of K2 following a disastrous expedition, Peter joins a high-risk rescue mission that pushes human endurance to its absolute limits. Supporting performances from Bill Paxton, Scott Glenn, Izabella Scorupco, Temuera Morrison, Robert Taylor, Ben Mendelsohn, Alexander Siddig, and Stuart Wilson further ground the film’s emotional stakes, lending weight to a story that balances high-octane action with personal reckoning.

While Vertical Limit received mixed critical responses upon release (some praising its visceral set pieces and others questioning its plausibility) it has endured as a gripping example of survival cinema, remembered for its relentless pacing, outstanding cinematography and its ability to convey both the majesty and the indifference of nature.

By the time he approached Vertical Limit, James Newton Howard was already working at an extraordinary pace, scoring multiple films per year while continuing to refine his voice. Yet this project offered something distinct: the opportunity to write what he himself described as a full-scale, “balls-to-the-wall” orchestral action score.

From the outset, Howard was clear: this music required size, weight, and physical presence. “There’s only one way to do that,” he noted, “with a lot of bodies.” What emerged is one of the most fully realized large-scale adventure scores of his career, built around a strong thematic core and an expansive orchestral palette.

Central to that design is the score’s main theme, arguably one of Howard’s finest. Conceived early in the process and tested against key scenes before full composition began, the theme became the structural backbone of the score. As Howard himself emphasized, Vertical Limit was always intended to be “a thematically driven score,” with the architecture growing outward from this central idea.

The result is a theme of remarkable clarity and adaptability: grounded, serious, and emotionally weighty, yet immediately memorable. It drives the score’s sense of scale and adventure in “Three Years Later,” shifts into more introspective and tragic variation in tracks like “I Need One More”, “You Did The Right Thing” and “Maybe You Should Turn Back”, and takes on a solemn, almost reflective quality in moments like the closing passages of “The Rescue” and “It’s a Good Song.” Each appearance feels purposeful, anchoring the score across its shifting dramatic contexts.

A more intimate motif for Peter and Annie, introduced in the first half of “You Wanna Do This?,” offers a warmer emotional counterpoint. Developed further in “Annie and Peter” and “It’s a Good Song,” it reflects the siblings’ strained bond and gradual reconciliation. In contrast to the main theme’s broader emotional scope, this material feels more personal and immediate. Howard underscores this intimacy through delicate orchestration, favoring gently layered strings, harp figures, and soft woodwind colors that lend the motif a sense of fragility and sincerity. The writing often avoids overt sentimentality, instead allowing small shifts in harmony and texture to carry the emotional weight, mirroring the characters’ unspoken feelings and gradual emotional thaw.

Howard also avoids over-reliance on exotic color, despite the Himalayan setting. While subtle touches (gongs, bells, percussion, and occasional flute textures) suggest the environment, he deliberately restrains these elements to avoid cliché. The mountain is not exoticized; instead, it is treated as something vast, indifferent, and quietly overwhelming. This perspective is beautifully captured in the second half of “You Wanna Do This?,” where the music opens into a lyrical ascent passage of striking clarity: bold, uplifting, and quietly awe-inspiring, it conveys both the majesty of the climb and the emotional resolve driving the characters forward, without ever losing its grounded and dramatic tone.

A distinctive motif associated with Montgomery Wick (Scott Glenn) adds another layer of identity to the score. Wick, a hardened, solitary climber haunted by past loss, is musically defined through a wailing whistle timbre that feels at once human and ghostlike. This instrumental color appears throughout the score in a restrained but meaningful way, subtly accentuating cues like “You Did the Right Thing.” It becomes more pronounced in “Don’t Touch Her” and sections of “The Rescue,” where the musical idea gains emotional weight and presence, ultimately finding a form of resolution that mirrors Wick’s own arc within the story.

In contrast, Elliott Vaughn (Bill Paxton), the film’s antagonist, is characterized through a very different musical language. Howard often employs serpentine high string writing for the character; uneasy, slithering figures that suggest calculation, arrogance, and moral ambiguity. At times, this material veers into deliberately sleazy territory, subtly undercutting the nobility of the surrounding music. One of the clearest examples occurs in the second half of “Annie and Peter,” where the cue briefly shifts into something closer to psychological horror, echoing the composer’s own work in that genre.

If the thematic writing provides emotional coherence, the action music delivers the score’s visceral impact, and it is here that Howard’s approach becomes especially striking.

He has described action scoring as a kind of “physical or athletic event,” requiring endurance, discipline, and sheer intensity. That philosophy is evident throughout Vertical Limit, where extended action sequences unfold as tightly constructed orchestral set pieces.

These cues are driven by layered percussion, aggressive brass writing, frenetic strings, and propulsive rhythmic structures, often containing dozens of individual elements and recurring motifs. Yet despite their scale and intensity, they remain harmonically coherent and musically engaging, echoing, at times, the influence of Jerry Goldsmith in their balance between complexity and accessibility.

Impressive tracks like “Spindrift,” “Avalanche,” “Rescuers Arrive,” “Use Your Ax!,” “Nitro,” “Peter’s Jump,” and “The Rescue” perfectly exemplify this approach, where music and image move in near-perfect synchronization, creating a sense of physical immediacy, danger, and adrenaline. Yet what gives these sequences their lasting impact is not just their sheer intensity, but the way Howard anchors them within a broader emotional and thematic framework, allowing the score to shift seamlessly from visceral action to moments of reflection, connection, and humanity.

For years, Vertical Limit was represented solely by its original Varèse Sarabande 2000 release, which offered a concise limited overview of the score. While effective as an album, it captured only part of Howard’s broader musical architecture.

This new Renovatio Records edition expands that foundation with additional material and a revised, largely chronological presentation. Previously unreleased cues are reintegrated into the narrative flow, allowing the score’s thematic development and structural pacing to emerge more clearly. The result is a more faithful reflection of Howard’s original conception: one in which theme, action, and emotional progression are fully aligned.

With Vertical Limit, James Newton Howard delivered a score of remarkable scale, discipline, and emotional clarity, anchored by one of the strongest themes of his career and elevated by some of his most accomplished action writing. This new edition allows that achievement to be experienced as it was intended: not in fragments, but as a complete ascent.

Press play and hold on.

Track listing:

1. Utah (1:34)

2. Three Years Later (4:32)

3. Base Camp (1:36)

4. You Wanna Do This? (4:40)

5. Spindrift (3:24)

6. Avalanche (1:28)

7. Your Father Was A Smart Man (2:13)

8. I Need One More (1:43)

9. Rescue Preparations (1:50)

10. Rescuers Arrive (4:39)

11. You Did The Right Thing (2:59)

12. Use Your Ax! (4:25)

13. Question Marks (1:52)

14. Maybe You Should Turn Back (1:57)

15. Nitro (4:15)

16. Don't Touch Her (2:48)

17. Annie and Peter (4:21)

18. Peter's Jump (5:56)

19. The Rescue (5:56)

20. It's A Good Song (3:07)

Total Running Time: 65:15

Download Link

Size: 352.4 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music by James Newton Howard

Produced by James Newton Howard and Jim Weidman

Executive Producer for Renovatio Records: John M. Angier

Electronic Score Produced by James T. Hill

Score Recorded and Mixed by Shawn Murphy

Conducted by Pete Anthony

Orchestrations by Brad Dechter, Jeff Atmajian, Pete Anthony and James Newton Howard

Supervising Music Editor: Jim Weidman

Music Editor: David Olson

Music Contractor: Sandy DeCrescent

Auricle Control Systems: Richard Grant

Music Preparation: JoAnn Kane Music Services

Recordist: Peter Doell

Scoring Crew: Mark Eshelman, Pat Weber, Grant Schmitz and Amanda Thompson

Mix Assistant: Tim Lauber

Mastered by Patricia Sullivan Fourstar at Bernie Grundman Mastering

Album Sequencing: John M. Angier

Album Art Direction: Mira B. Ellis

Music published by New Columbia Pictures Music, Inc. admin. by Sony/ATV Tunes LLC (ASCAP)

Special Thanks to: Martin Campbell, Gareth Wigan, Lloyd Phillips, Thom Noble, Tristan Brighty, Lia Vollack, Burt Berman, Raul Perez, Dana Berez, Sam Schwartz, Mike Gorfaine, Sofie, Jackson and Hayden Howard

Cue Assembly:

Track Title	Slate Number and Cue Title
1. Utah	1m0v1 Opening (Edited)
2. Three Years Later	1m2 Three Years Later 1m3v5 The Hospital (Edited)
3. Base Camp	2m1v3 Base Camp
4. You Wanna Do This?	3m2v3 Annie And Peter 4m1v6 Team Takes Off
5. Spindrift	4m2 Peter's Fear of Storm (Edited)
6. Avalanche	5m1Av2 First Avalanche
7. Your Father Was a Smart Man	5m2v2 Morse Code
8. I Need One More	6m2v2 I Need One More (Edited)
9. Rescue Preparations	6m3v2 Rescue Preparations
10. Rescuers Arrive	7m2v8 Rescuers Arrive (Edited)
11. You Did The Right Thing	8m2v3 Peter And Wick Argue (Edited) 8m3v4 Ice Wall (Edited) 7m1v2 Wick Agrees (Edited)
12. Use Your Ax!	9m1 Cyril Slips 9m2 Annie Tries For Pack (Edited) 9m3v4 Cyril Hangs/Annie & Pack (Edited) 9m2 Annie Tries For Pack (Edited) 9m3v4 Cyril Hangs/Annie & Pack (Edited)
13. Question Marks	9m5v4 Avalanche
14. Maybe You Should Turn Back	10m3v2 Malcolm & Kareem
15. Nitro	1m1v2 Royce's Sacrifice (Edited) 6m1v4 Skip's Boot (Edited) 10m4v3 Nitro Reacts To Sun
16. Don’t Touch Her	11m1v3 Don't Touch Her
17. Annie and Peter	11m2v4 Annie...What Is It? 12m1v2 Vaughn Kills Tom
18. Peter’s Jump	12m2v2 Peter Sets Out 12m3v4 Tom's Heart (Edited) 5m1v5 The Storm (Edited)
19. The Rescue	12m4v5 Finding Annie & Vaughn 13m1v6 The Rescue (Edited)
20. It’s a Good Song	13m2Alt v.3 It's A Good Song (Coma sopra)

Motion picture artwork and photography © 2000 Columbia Pictures Industries, Inc. This compilation and cover artwork © 2026 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19082]

Inception

Inception

(Original Motion Picture Score)

Music Composed by

Hans Zimmer

As the final release of 2025, Renovatio Records closes the year with Inception, a score that has remained deeply embedded in contemporary film culture. When Christopher Nolan’s science-fiction thriller premiered in 2010, it arrived not only as a major studio release but as a labyrinthine film that tested the limits of mainstream storytelling, asking audiences to engage with layered dream logic, elastic perceptions of time, and a protagonist defined as much by emotional fracture as by narrative function. Central to that experience was Hans Zimmer’s score for Inception, a work whose sound would resonate far beyond the film itself.

Fifteen years later, while Zimmer’s music remains inseparable from the film’s identity, its immense low-end sonorities and relentless momentum have become a familiar presence in modern blockbuster scoring. This 15th anniversary edition from Renovatio Records presents the score in a newly revised and expanded form, restoring previously unreleased material and reorganizing the music into a largely chronological narrative. In doing so, it offers a clearer view of the score’s internal logic, emotional trajectory, and architectural design than ever before.

Inception stands as one of the most ambitious and influential mainstream science-fiction films of the 21st century. Blending elements of the heist genre with speculative metaphysics, the film explores the architecture of dreams as both a narrative device and a thematic obsession. At its core lies a deceptively simple premise: a team of specialists infiltrates the subconscious to extract or, in this case, implant an idea. Yet from this foundation, Nolan constructs a multi-layered narrative in which time dilates, realities overlap, and emotional truth becomes increasingly elusive.

Leonardo DiCaprio leads the film as Dom Cobb, a skilled extractor haunted by guilt and unresolved loss, whose inner conflict becomes the story’s emotional center. He is supported by a broad ensemble cast that gives the film both scale and texture: Joseph Gordon-Levitt as the disciplined Arthur; Elliot Page (credited as Ellen Page) as Ariadne, the architect and audience proxy; Tom Hardy as the improvisational Eames; Ken Watanabe as the enigmatic Saito; Cillian Murphy as the target of the inception; and Marion Cotillard as Mal, Cobb’s wife and the most volatile manifestation of his subconscious. Together, the cast navigates material that balances exposition-heavy mechanics with moments of emotional intimacy, not always seamlessly, but with clear ambition.

While Inception was widely praised for its originality, technical control, and conceptual reach, it also attracted criticism. Some responses pointed to Nolan’s reliance on dense, explanatory dialogue, often delivered with an almost procedural rigidity. Others noted moments of emotional stiffness or uneven performances, particularly where the narrative’s mechanics take precedence over character nuance. Even so, such criticisms frequently acknowledged that these tensions stemmed from the film’s refusal to dilute its complexity for accessibility.

Behind the camera, Nolan once again assembled a familiar creative team whose contributions proved integral to the film’s coherence. Cinematographer Wally Pfister’s large-format imagery lends clarity and physicality to the shifting dreamscapes, while editor Lee Smith orchestrates the film’s intricate cross-cutting across multiple temporal layers. Production designer Guy Hendrix Dyas and the visual effects teams at Double Negative created environments that feel both abstract and tangible, grounding conceptual ideas in physical space. Together, these elements form a rigorously controlled cinematic machine, in which structure, rhythm, and precision are paramount.

Upon release, Inception was both a commercial success and a frequent subject of debate. The film earned eight Academy Award nominations, winning four, and received widespread recognition for its technical achievements. Over time, its influence has only become more apparent, particularly in its integration of music and sound design into narrative structure, and in its willingness to foreground complexity within a blockbuster framework.

For Inception, Nolan once again collaborated with Hans Zimmer, continuing a partnership that began with Batman Begins and The Dark Knight. By 2010, the two had developed a shared approach rooted in rhythm, texture, and conceptual cohesion rather than traditional thematic scoring. Rather than treating the film as a conventional science-fiction or heist project, Zimmer focused on its core ideas: time dilation, memory, and subjective experience. Nolan famously provided Zimmer with an emotional brief without revealing the full plot, asking for music centered on longing and loss. From this starting point, Zimmer constructed a score that operates across multiple temporal and emotional planes, mirroring the film’s layered dream structure.

One of the score’s most distinctive conceptual foundations is its relationship to Edith Piaf’s song “Non, je ne regrette rien,” used in the film as a signal to synchronize dream layers and trigger the “kick” that wakes the dreams. Zimmer digitally manipulated the recording, stretching it across time to reflect the film’s temporal mechanics. He isolated the song’s brassy rhythmic accents and expanded them into the monumental low-frequency brass hits that became the score’s defining sonic gesture: the now-iconic “horn of doom” or “BRAM.” Introduced in the opening cue, “Half Remembered Dream,” this sound functions less as a motif than as a structural force, establishing weight, pressure, and inevitability.

Throughout the score, Zimmer relies on layered brass, low strings, and percussion to generate momentum that rarely resolves. Instead of developing themes through melodic variation, the music evolves through accumulation: rhythms slow down, harmonies thicken, and textures expand as the narrative descends deeper into the dream. This approach is especially evident in action cues such as “Dream Is Collapsing,” “Mombasa Chase,” “Destabilization,” and “The Complex,” where the music drives the action with relentless propulsion while remaining emotionally opaque.

Threaded through this dense sonic fabric is the electric guitar work of The Smiths’ former guitarist, Johnny Marr. Often processed and rhythmically integrated into the texture, the guitar seldom emerges as a solo voice, instead reinforcing motion and tension while subtly distinguishing Inception from more traditional action scores.

Despite its emphasis on texture and momentum, Inception is anchored by several clearly defined thematic ideas. The most recognizable is the “time” theme, introduced at the beginning of the album and gradually developed throughout the score. Built on a simple repeating harmonic progression, it reflects Cobb’s unresolved grief and longing for reunion with his children. Its eventual full release in “Welcome Home, Mr. Cobb” at the end of the film, feels profoundly earned, precisely because the score has withheld emotional resolution for so long.

A second, more intimate theme is associated with Cobb and Mal, representing memory, guilt, and destructive love. Explored in cues such as “Dreams or Memories?”, “Mal and Cobb,” “Inception,” and “Old Souls,” this material unfolds through suspended harmonies and softened textures, often feeling disconnected from forward motion. Together with the “time” theme, these two ideas form the emotional core of the score, driving its most personal moments.

Additional motivic material supports the ensemble narrative. A motif for the heist team is introduced in the kinetic “Mombasa Chase”, built from rhythmic propulsion. This idea returns during “The Plan”, where it takes on a more controlled, deliberate character as the team consolidates and the mechanics of the inception are laid out. Closely related is a guitar-driven motif (essentially a repeating riff) heard prominently in “Meeting Ariadne” and woven throughout “The Plan”. This material is all about momentum and cohesion, reflecting both the assembling of the team and the fragile balance required to execute the mission.

Zimmer also employs a recurring harmonic progression that appears across several key cues, including “Dream Is Collapsing”, “Physics and Subconscious”, “The Complex”, and “Inception”. This progression derives from Piaf’s song and evokes the vast, awe-inspiring possibilities of shared dreaming while simultaneously suggesting danger and instability.

Smaller ideas further enrich the score’s architecture. The most noticeable of these is a low-string figure associated with Saito, introduced in “Half Remembered Dream” and revisited at the close of “Old Souls,” where it intersects with the Cobb–Mal material to provide a musically driven sense of closure.

Taken together, these elements reveal Inception as more than a collection of conventional musical moments. Rhythm, harmony, texture, and motif operate across multiple layers, shaping the audience’s perception of time, memory, and emotional consequence with remarkable precision.

For all its cultural impact, Inception has had a surprisingly limited history on album. The original 2010 WaterTower Music release offered a carefully assembled listening experience that favored flow and immediacy over narrative chronology. While effective on its own terms, that presentation condensed and reordered material into suites, leaving portions of the score’s internal development unexplored.

This new Renovatio Records edition addresses that gap with a revised and expanded presentation. By restoring previously unreleased cues and arranging the music largely in chronological order, it allows Zimmer’s musical ideas to unfold with greater clarity and dramatic coherence. The result is a presentation that showcases the score’s carefully engineered musical construction, revealing connections between motifs, harmonic progressions, and rhythmic strategies that are less apparent in the earlier release. As both a 5th anniversary release and the label’s final title of 2025, this edition offers an ideal opportunity to revisit one of Hans Zimmer’s most influential scores. Press play, follow the layers, and allow the architecture of the dream to unfold once more.

Track listing:

1. Half Remembered Dream (1:47)

2. Dream is Collapsing (2:21)

3. Meeting Ariadne (3:45)

4. Physics and Subconscious (4:54)

5. Mombasa Chase (4:43)

6. Dreams or Memories? (3:58)

7. Mal and Cobb (6:33)

8. The Plan (8:36)

9. Destabilization (2:45)

10. The Complex (7:04)

11. Limbo (4:54)

12. Inception (8:39)

13. Old Souls (3:11)

14. Welcome Home, Mr. Cobb (3:22)

Total Running Time: 66:32

Download Link

Size: 329.5 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed by Hans Zimmer

Music Produced by Hans Zimmer, Lorne Balfe, Christopher Nolan and Alex Gibson

Executive Producer for Renovatio Records: John M. Angier

Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek and Darren Higman

Additional Music: Lorne Balfe

Guitar: Johnny Marr

Ambient Music Design: Mel Wesson

Synth Programming: Hans Zimmer and Howard Scarr

Digital Instrument Design: Mark Wherry

Supervising Orchestrator: Bruce L. Fowler

Orchestrators: Elizabeth Finch, Walter Fowler, Rick Giovinazzo, Kevin Kaska, Suzette Moriarty, Ed Neumeister, Carl Rydlund

Music Score Consultant: Gavin Greenaway

Orchestra Conducted by: Matt Dunkley

Supervising Music Editor: Alex Gibson

Music Editor: Ryan Rubin

Assistant Music Editors: Peter Oso Snell, Mike Higham

Sequencer Programming: Nick Delaplane, Andrew Kawczynski, Jacob Shea

Head Technical Score Engineer: Thomas Broderick

Technical Score Engineer: Chuck Choi

Orchestra Contractor: Isobel Griffiths

Music Production Services: Steven Kofsky

Score Coordinator: Andrew Zack

Music Preparation: Booker White and Jill Streeter

Score Recorded by Geoff Foster

Assistant Engineer: Chris Barrett

Score Mixed by Alan Meyerson, assisted by Daniel Kresco

Score Recorded at Air Lyndhurst, London, UK

Score Mixed at Remote Control Productions

Sample Development: Claudius Bruese, Sam Estes and Michael Hobe

Studio Managers for Remote Control Productions: Czarina Russel and Shalini Singh

Mastered by Pat Sullivan at Bernie Grundman Mastering, Hollywood, CA

Film Music Clearance: Bobby Thornburg

Music Business Affairs: Lisa Margolis, Jamie Roberts, Emio Zizza

Album Sequencing: John M. Angier

Art Direction: Mira B. Ellis

Music published by Warner Olive Music (ASCAP)

Score contains interpolations of "Non, Je Ne Regrette Rien"

Performed by Edith Piaf

Written by Charles Dumont and Michel Vaucaire

Published by Shapiro, Bernstein & Co. Inc. - Barclay Music Division o/b/o S.E.M.I./peermusic for the USA and Canada

Used courtesy of EMI Music France, under license from EMI Music Marketing.

Special Thanks: Christopher Nolan, Emma Thomas, Alan Horn, Jeff Robinov, Paul Broucek, Lee Smith, Richard Kind, Gary Rizzo, Lora Hirschberg, Bonnie Abaunza, Bob Badami, Eva and David Balfe, Tiffany Bordenave, Marc Brickman, Jo Buckley, Ben Burfield, Alison Burton and the staff at Air Studios, Ronni Chasen, Melissa Crow, Suzanne Fritz, Jordan Goldberg, Max Golfar, Juli Goodwin, Michael Gorfaine, Peter Gorges, Isobel Griffiths, Tina Guo, David Hall, Nick Haussling, Urs Heckmann, Jason Hillhouse, Aleksey Igudesman, Alana Kass, Steven Kofsky, Sue Kroll, Emy Macek, Heather MacFarlane, Christina Mansky, Lisa Margolis, Satoshi Noguchi, Diarmuid Quinn, Satnam Ramgotra, Xavier Ramos, Rachel Reyes, Jaime Roberts, Lee Rossignol, Andrew Rossiter, Jeff Sanderson, Sam Schwartz, Charlie Steinberg, Diego Stocco, Chris Strong, Jonna Terrasi, Derek Thorn, Bobby Thornburg, Ryan Uchida, Elizabeth Warren and Emio Zizza. Suzanne Zimmer and the Mini-Z's Zoë Zimmer.

Cue Assembly:

Track Title	Slate Number and Cue Title
1. Half Remembered Dream	1m00 Logos 1m01 Cobb Meets Saito (Edited)
2. Dream is Collapsing	F-Riff Suite (Edited)
3. Meeting Ariadne	2m08 Miles Introduces Ariadne (Edited) Kick It Suite (Edited)
4. Physics and Subconscious	2m08 Miles Introduces Ariadne (Edited) 2m10 Physics & Subconscious (Edited)
5. Mombassa Chase	2m13 Mombassa Chase (Edited) Mombassa Suite (Edited) 2m13 Mombassa Chase (Edited)
6. Dreams or Memories	2m11 Totem 3m18 Dreams Or Memories (Edited)
7. Mal and Cobb	4m25 Mal & Cobb (Edited)
8. The Plan	4m19 En Route (Edited) 3m16 Strategy (Edited)
9. Destabilization	5m28 Destabilization
10. The Complex	6m29 Planning The Diversion (Edited) 6m30-33 To The Complex (Edited) 1m02 Extraction (Edited) 6m30-33 To The Complex (Edited) 6m35-36 It's A Trap (Edited)
11. Limbo	6m37 Walking Through Limbo 7m38 An Idea Is Like A Virus (Edited)
12. Inception	7m39-43 Truth Once Known (Edited) 7m44 Fischer & Son (Edited) 7m39-43 Truth Once Known (Edited)
13. Old Souls	7m46 Honor Our Agreement (Edited) 4m23 Saito's Fate (Edited)
14. Welcome Home, Mr. Cobb	7m47 Welcome Home Mr. Cobb (Edited) Time Suite (Edited)

Motion picture title, artwork and photography © 2010 Warner Bros. Entertainment. and Legendary Pictures. This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19112]