The longest cue on the set: a 110bpm Afropop groove in B flat minor built on a soft programmed beat, round bass, warm synth pads and fingerpicked acoustic guitar, with chopped vocal samples used as a hook rather than a lead line. Its nearly four-minute length gives it room to run under a long edit without repeating too obviously, staying relaxed and even-tempered throughout.
The slowest and most laid-back of the group at 95bpm, distinguished by horns and trumpet sitting over the beat, bass, synth and acoustic guitar. The brass gives it a sunnier, more melodic front than its siblings, so it reads as celebratory rather than purely background.
A short, punchier take on the album's B flat minor Afropop template, swapping acoustic for electric guitar and adding handclaps to the beat for extra lift at 100bpm. At two and a half minutes it works as a tight, ready-to-cut bed with a slightly more urban, contemporary edge.
The only major-key cue here, in B at 112bpm, which makes it the brightest and fastest of the set — beat, bass, synth, acoustic guitar and vocal chops with no minor-key shade. Compact at under two and a half minutes and openly optimistic, good where the picture needs unclouded good feeling.
Set apart in E flat minor at 105bpm and the only cue with sung vocals plus flute over the beat, bass, synth and acoustic guitar. The flute line and voice give it the most human, lyrical character on the album — warmer and slightly more wistful, better suited to story than to straight background.