Reverb-drenched surf guitar riding a 110bpm bhangra beat in C# minor, with tabla, claps and stabbing violins under call-and-response male and female vocal hooks. The longest of the guitar-led cues here, it plays retro and tongue-in-cheek rather than sincere — a spaghetti-western swagger transplanted to Punjab. Suits stylised comedy entrances and strutting slow-motion.
A short, sly 95bpm groove in C minor built on tabla, hand claps, funk bass and clipped electric guitar, with violins and mixed vocal calls adding a vintage Bollywood flavour. Its two-minute length and mid-tempo strut make it a tidy comic scene bed or ad cutdown. Cheeky and food-flavoured, exactly as the title suggests.
The fastest of the mid-album cuts at 140bpm and the only one in bright major E, driving hard on tabla, drums, claps, funk bass, guitar and synth with shouted male and female vocal hooks. Relentlessly upbeat and comic, it barrels forward without brooding. Cut it to chases, market chaos or frantic comedy action.
At 82bpm in E minor this is the slowest and coolest cue on the album — a laid-back funk crawl with tabla, claps, loose bass, guitar licks and sultry violin lines under male and female vocals. Less comedy, more smoky and seductive. Good for lounge interiors, late-night arrivals and confident slow walks.
The longest track here at nearly three minutes, a 110bpm C minor funk-bhangra groove with tabla, claps, bass, guitar and string lines under mixed vocals. Chilled and sexy rather than slapstick, with room to build across a full scene rather than a quick sting. Suits extended montages and title sequences that need a groove to sit in.
The only organ-led cue on the album: a retro E flat major romp at 110bpm with tabla, drums, claps and funk bass, no guitar in sight, and playful male and female vocals up front. The keyboard tone gives it a lounge-comedy, sixties-caper feel distinct from its guitar-driven neighbours. Ideal for a lovesick clown of a character.
A 97bpm D minor funk groove where synths and strings share space with clipped guitar over tabla, claps and drums, mixed vocals riding the top. Cool and mid-paced, more head-nod than dancefloor. Works as a confident bed for urban footage or club-adjacent scenes.
Guitar-free hip-hop-leaning bhangra at 97bpm in E minor, leaning on tabla, drums, claps, fat bass, synth and strings with male and female vocal hooks. The folk-meets-hop framing keeps it rhythm-first and relatively open in the midrange. A solid narration bed for street-level documentary footage.
The shortest cue on the album, a compact 105bpm F minor groove of tabla, claps, bass, synth and strings with mixed vocal accents and no guitar. Cool and colourful, built for a fast turnaround rather than a long arc. Fits a 30- or 60-second spot almost as delivered.
An A minor cut at 118bpm, the most stripped of the funky grooves — tabla, drums, claps, bass and synth with male and female vocals, no strings or guitar to crowd the mix. That leanness makes it punchy and easy to talk over. Good for exclamatory reveals and reaction-driven comedy.
The fastest thing on the album at 160bpm in D major, pairing twanging surf guitar and synth with a hammering tabla-and-claps bhangra engine and shouted mixed vocals. Bright, breathless and comic, running a full 2:40 of forward motion. Built for wedding chaos, race footage and full-tilt celebration.
A 115bpm E flat minor closer with electric guitar, strings, tabla, claps and funk bass under male and female vocal hooks — the minor key gives it a darker, cooler edge than its comic tempo suggests. At 2:37 it has room to strut through a full sequence. Suits swaggering entrances and crime-comedy cuts.