A 118bpm E minor lounge-pop strut built on bongos, handclaps and a walking bass under twangy electric guitar, with wordless female vocal colour giving it a sun-bleached 60s/70s holiday feel. At 2:25 it's the longest and most languid cue here, cheeky and seductive rather than urgent, and it suits resort footage where the glamour hides something slightly off.
The fastest cue on the album at 122bpm in E flat minor, pairing bongos and claps with timpani and orchestral drums for a mock-cinematic, film-score swagger over vintage electric guitar and bass. Chopped vocal samples add a comic wink; at just over two minutes it works as a compact caper cue for scheming, sneaking or a very serious character doing something very silly.
A 118bpm C minor retro funk-soul groove with wah-wah guitar, fat bass, drums, bongos and claps plus vintage synth and male vocal touches. The title's tech-bro joke matches the music's self-satisfied strut, making it ideal for a smug entrepreneur, a slick pitch gone wrong or an ironic corporate montage.
At 90bpm in A minor this is the slowest and most sultry track here, a loping spy-funk groove of bongos, drums and bass with flute, electric and acoustic guitar, synth and male vocal colour giving it a worldly, exotica edge. The half-tempo swagger and 2:28 running time make it the best fit for surveillance, seduction or a deliberately absurd stakeout.
The shortest and sparsest cue at 1:57, a 118bpm B flat minor bed of bongos, percussion, claps and bass with vintage synth and wordless female vocals rather than a guitar lead. That lighter, more open texture leaves room for dialogue or narration while still carrying a cheeky poolside strut.
A 118bpm A minor cue with a reggae-tinged upstroke feel, acoustic guitar, bongos, drums, claps and bass topped by a bright trumpet line and warm synth. The soulful, funky lilt is the most overtly feel-good moment on the album, suiting beach bars, diner scenes and easy-going comic interludes.