The album's title cue and its fastest, running at 164 BPM in D minor with hammering trailer drums, aggressive brass stabs and driving string ostinatos over synth bass. Builds through a dystopian, ominous opening into a triumphant heroic back-end payoff, with piano used as contrast rather than lead.
The most restrained and inspirational cue here at 98 BPM in F# minor, trading the album's aggression for anticipation — piano and sustained strings under slowly gathering brass and trailer percussion. Grows from an ominous, spacious opening to a soaring uplifting climax, making it the best option on the record for narration.
At 135 BPM in E minor this sits in the album's mid-upper action band, with propulsive strings, brass hits and hybrid synth bass under heavy trailer drums. The ironic calm of the title plays against a dangerous, growing arc that resolves in grand heroic brass.
The longest cue on the album at 2:48, 125 BPM in C# minor, and one of the choir-backed tracks — voices thicken the brass and string writing over synth bass and trailer drums. Its extra length allows a longer ominous ramp before a peak-of-power triumphant finish.
A 141 BPM C minor charge and the leanest orchestration of the fast cues — no piano or choir, just brass, strings, synth bass and heavy percussion. Rises steadily in the manner the title suggests, from dark driving momentum to a soaring, unambiguous heroic conclusion.
131 BPM in F minor and the shortest of the driving cues at 2:25, built for a fast escalation: string ostinato, aggressive brass, distorted synth bass and pounding trailer drums. Forward-motion energy with a dystopian edge that breaks into triumphant brass at the back end.
A heavier, slower 106 BPM stomp in D minor with choir over brass, low strings, synth bass and cavernous trailer drums. The reduced tempo makes it the most menacing and dystopian cue on the album, ending in a grand and dangerous rather than joyful payoff.
At 2:50 the longest cue on the record, 127 BPM in D minor with choir, brass, strings, piano and hybrid bass over trailer drums. The extended runtime supports a full three-act trailer shape — fractured ominous opening, mid-section escalation, and a massive triumphant final act.
100 BPM in A minor, the album's slowest march and one of its shortest at 2:23, with imperial brass, weighty strings, piano and deliberate trailer percussion. Ominous and grand rather than frantic, it climbs to a heroic, authoritative close.
134 BPM in C minor with choir added to the brass, strings, piano and heavy trailer drums, giving it a raised, near-religious lift in the back half. Aggressive and dangerous early, then soaring and triumphant, suited to end-of-trailer climax cutting.