A full-length pop song built around a settled, conciliatory title — the longest cut on the album at 4:36, with room for verse-chorus repetition and a final chorus lift. Suits scenes of reconciliation or a decision reached after conflict.
Aspirational pop at a compact 3:49, the title pointing at ambition turned tangible — an arc that moves from wishful to affirmed. Works over goal-chasing montages and student or startup storytelling.
Pop with an uneasy, self-questioning title, suggesting introspection rather than uplift across its 3:56. Fits identity-crisis storytelling, tech-anxiety pieces and character doubt.
A 4:36 song cue left ungenred in the catalogue, sitting with the album's pop-rock songwriting body; the existential title reads as reflective and wide-scoped. Suits contemplative long-form sequences where a full song can play out.
Pop song about descent and letting go, running 4:30 with space for a slow emotional build and a sustained chorus. Good for heartbreak scenes, slow-motion imagery and turning-point moments.
Nostalgic pop at 4:39, the longest-feeling cut alongside the openers, its title steering toward memory and retrospection. Suits archive-footage sequences and characters revisiting the past.
A lead-vocal rock song, 3:33 and attitude-forward, its title framing a tough urban character portrait. Best where the vocal is the scene — bar entrances, street sequences, credit rolls.
A concise 3:22 pop song centred on a remembered voice, suggesting an intimate, singular focus rather than an anthem. Works under longing, correspondence and one-sided romance scenes.
A 4:24 song with a reassuring, consoling title — comfort offered after difficulty, with a full-song length that allows the sentiment to settle. Fits recovery arcs and quiet supportive moments between characters.
A 3:47 song with a provocative, sensual title, leaning flirtatious and edgy rather than sweet. Suits late-night scenes, risqué comedy and adult-oriented character introductions.
Self-focused pop at 3:54, the title framing personal reckoning and self-acceptance. Useful for solo character journeys, therapy or self-image storylines.
A tight 3:18 rock song with lead vocals, its title implying something indelible and defiant. The shortest of the rock cuts here, making it the most cuttable for punchy montage and spot use.
Melancholy pop at 4:32, weather as metaphor for a low mood, with length enough for a slow-burn emotional arc. Suits window-gazing scenes, grief sequences and rain-soaked city footage.
A 4:17 rock song with lead vocals about going nowhere fast — frustration and repetition rather than triumph. Fits road footage, stalled-life storylines and small-town character studies.
The shortest and most production-driven cut here: an electronic piece of 2:34 with an ascending, overcoming title. Its brevity makes it a natural fit for spots and short promos that need lift without a full song structure.
A 3:20 rock song with lead vocals and a gender-play character title, wry and confrontational in tone. Best used as an on-screen needle-drop for character introductions and subculture scenes.
A deliberately crude, provocative title on a 4:00 song cue — comic shock value rather than sincerity. Reserve for irreverent comedy, gross-out gags and edgy alt-culture footage.
A 3:39 song whose title is misspelled in the catalogue; the sentiment is dismissive, anti-overthinking, matching the album's wry songwriting streak. Suits impulsive decisions, comic bad choices and carefree montages.
At 2:37 this is the shortest pop cut on the album, a compact song with an open-ended, anything-could-happen title. The brevity and lack of a long build make it easy to place in short promos and closing beats.