At 182 BPM in A this is the fastest, leanest cut on the set: distorted riff, driving bass, claps and trailer drums under a raspy male lead with gang-style backing shouts. Its short 2:26 run and finality-tinged title suit last-lap sports footage or a closing trailer push.
A 172 BPM stomper in B, longer at 2:49, built on grimy electric guitar, claps and big trailer drums with a confident raspy vocal and shouted backings. The consequence-heavy title fits fight-sport promos, outlaw road footage and rugged truck or tool advertising.
The only cue here to add keys and electric piano to the distorted riff, claps and trailer-drum backbone, giving its 164 BPM groove in A a roadhouse swing under the raspy lead. At 3:01 it is the longest track on the album, with room for verse-to-chorus lift across a full underdog montage.
At 118 BPM in D this is the slowest and heaviest swagger on the album, leaning on a fat distorted riff, half-time trailer drums and claps behind a gritty male vocal. Its weight and space make it the pick for slow-motion hero entrances and impact-driven trailer cutdowns.
A 134 BPM mid-tempo strut in D# with distorted guitar, thick bass, claps and trailer drums under a raspy, cocky lead vocal. The moderate tempo and daredevil title suit extreme-sports edits and stunt or adventure travel footage that needs swagger without a sprint.
Shares the 164 BPM drive of "Nothing On Us" but sits in D and keeps the arrangement to guitars, bass, claps and trailer drums with no keys, so it reads harder and more knife-edged. Nearly three minutes long, it works for high-stakes crime or competition sequences that need risk in the riff.
A 158 BPM anthem in E with distorted riffing, clap-reinforced backbeat, trailer drums and shouted background vocals behind a raspy lead. The crowd-baiting title and 2:55 length make it a natural for arena pre-game packages and hype-driven sponsor spots.
At 128 BPM in D this is one of the two slower, riff-heavy cuts, with distorted guitar, bass, claps and trailer drums pacing a determined raspy vocal. Steady rather than frantic, it suits decisive-action storytelling, workwear and machinery advertising, and mid-trailer builds.
A 174 BPM barnstormer in D driven by distorted riffs, claps, trailer drums and gang background vocals against a hoarse lead. The title points at the most crowd-shout-oriented chorus of the set, ideal for festival, stadium and party-energy edits.
180 BPM in E and the shortest cue at 2:22, this is a tight, punchy swagger rocker with distorted guitar, bass, claps, trailer drums and shouted backings. The compact length and relentless tempo make it easy to drop into a 30- or 60-second promo without heavy editing.