An unhurried 85bpm build in A major, piano and sustained strings joined by synth arpeggios, wordless vocal chants and trailer drums that push the last minute into a full-band payoff. Bright but wistful, suited to footage of weather, reunion or quiet personal turnaround.
The most band-driven cue on the set: 100bpm in B major with Rhodes, Hammond and electric guitar layered over strings, arpeggios and chanted vocals, climbing to a wide uplifting back-end. Its indie-rock warmth suits sunlit outdoor and lifestyle footage more than austere corporate imagery.
At just over four minutes this is the longest and most patiently developed piece, 110bpm in A major with piano, strings, choir and vocal chants over trailer drums. The extra length allows a genuine two-stage build, making it a good spine for a full film sequence rather than a cut-down.
Minor-key and epic-leaning, 90bpm in D minor over a low drone with piano, strings, arpeggios and chanted voices before trailer drums lift it toward hope. Written for departure and farewell — the sadder end of the album's palette without losing its uplift.
The title cue and the most electronic of the set: 115bpm in A minor built on a four-on-the-floor kick, drone, synth arpeggios and strings with wordless chants over the top. Forward-moving and pulse-led, it fits motion — driving, running, scrolling data.
The shortest of the mid-tempo cues at 2:42, 110bpm in D minor, pairing piano and strings with arpeggios, chanted vocals and trailer drums for a fast, compact rise. Reflective and slightly rueful in colour, useful when an edit needs a full emotional arc in under three minutes.
Open and untroubled at 100bpm in G major, with piano, strings, synth arpeggios and airy vocal chants growing into a broad, drum-backed final section. The brightest major-key entry alongside Happy Skies, but without the guitar and keys, so it stays cleaner under narration.
A swelling 90bpm piece in B minor where drone and piano underpin strings, arpeggios and wordless chants, tagged specifically for its rise-and-fall shape rather than a single climax. Contemplative and cyclical, good for footage about time passing, generations or natural process.
The slowest cue at 80bpm, in C minor, with choir and vocal chants over piano, strings and arpeggios and a long trailer-drum ascent across its 3:21. Solemn and last-stand in tone, resolving into something hopeful rather than triumphant.
The fastest and shortest track here: 130bpm in B minor, driving arpeggios, strings, choir and chanted vocals over an urgent trailer-drum kit that reaches its peak quickly. Its 2:36 length and pace make it the obvious pick for a high-velocity cutdown.