Mid-tempo psychedelic indie rock at 120 BPM in E minor, built on drums, bass, reverbed electric guitar and washes of synth for a gliding, oceanic feel. The minor key keeps it wistful while the drive stays hopeful and forward-moving, and at 2:45 it's the longest, most spacious cue here.
Brighter and warmer than its neighbours: 108 BPM in A major, with slide guitar over atmospheric synth pads, bass and steady drums giving it a sun-bleached, coastal lilt. Openly optimistic and unhurried, it reads as arrival or golden-hour reflection rather than adrenaline.
118 BPM in E minor, a flowing indie rock bed of drums, bass, electric guitar and atmospheric synth with a slightly restless, wraparound quality suggested by the title. Sits close to the album's other E minor cues but is tighter and more compact at 2:34.
At 136 BPM in G minor this is the darkest and fastest track here, tagged moody rather than uplifting, with driving drums, bass, electric guitar and synth atmosphere. Its short 2:12 runtime makes it a punchy, night-lit insert.
125 BPM in E minor with added percussion layers pushing the electronic side of the indie rock blend, over drums, bass, guitar and synth. The longest cue at 2:53, it has room to build from atmosphere into a purposeful, rallying drive that suits a statement of intent.
A more electronic-leaning, less rock-forward take at 118 BPM in E minor, with programmed drums, bass, atmospheric synth and textural electric guitar. Patient and flowing, it works as an underscore bed where dialogue or narration needs to sit on top.
The only cue with male vocals, at 120 BPM in E flat, riding drums, bass, electric guitar and electronic synth atmosphere. At just 2:05 it's the shortest and most song-like track here, punchy and positive for a spot that needs a lyric hook.