A mid-tempo strut at 108 BPM in A minor, built on distorted electric guitar, fat bass, synth stabs and shouted vocal hooks with a female lead. The slowest and longest cue on the set, so it swaggers rather than sprints — good for slow-motion hero shots, a car circling a city block, or a fashion walk-off.
The fastest cut here at 130 BPM in E minor, driving distorted guitar, bass and synth against shouts and female vocal hooks. Reckless, hyped forward motion suited to extreme sports edits, racing footage and rapid-cut product reveals.
110 BPM in E minor with a clap-driven groove, distorted bass, synth and shouted vocal chants — notably the one cue on the album without electric guitar or a female lead, so its hook sits in the claps and gang shouts. Useful when dialogue or narration needs more room over a still-cool, still-funky bed.
The title track and the shortest, punchiest edit: 135 BPM in E minor with distorted guitar, bass, synth and shouted female vocal hooks packed into 2:16. Straight-ahead banger energy for a full-throttle ad cutdown or a title-sequence blast.
115 BPM in F minor — the only track in that key, which gives it a slightly darker, moodier funk than its siblings while keeping the distorted guitar, bass, synth and shouted female vocals. Loose, cocky cruising energy for weekend road trips, night drives and after-hours lifestyle footage.