The only major-key cue on the set, a 125 BPM festival house build in C with a four-on-the-floor kick, wide synth leads, driving bass and vocal hooks used as texture. Bright and unclouded from the first bar, it climbs to a full-volume drop and lands cleanly at 2:31. Suits footage that is already celebratory rather than footage that needs to turn a corner.
At 124 BPM in D# minor this is the moodier club side of the album — same 4/4 kick, saturated bass and euphoric synth lead, but the minor tonality gives the drop a harder, more nocturnal edge. Vocal chops sit in the mix as rhythmic colour rather than a sung top line.
Shares the D# minor colour of its neighbour but sits slightly back at 120 BPM and adds piano to the synth, bass and 4/4 kick, giving the build a more melodic, anthemic lift before the drop. The extra chordal weight makes it the most emotional of the minor-key cues here.
A 120 BPM G minor dance cue and the longest on the album at 2:36, built from pulsing synths, deep bass, a steady four-on-the-floor beat and vocal texture. The slightly relaxed tempo and coastal title point at sunset-set poolside and beach party footage rather than peak-hour club floor.
The fastest and shortest cue at 126 BPM and 2:22 in D minor, with a running arpeggio and piano layered over bass, 4/4 kick and vocal hits for a sense of forward propulsion. Its tight running time and quick build make it the most edit-friendly option for short-form cutdowns.