Feeling Slightly Sad Vol.1

A subdued acoustic guitar cue with soft brushed drums, bass and a thin scatter of bells, sitting in a downcast but companionable register. At 1:31 it works as a short emotional beat rather than a full arc — the loneliness-before-a-phone-call moment.

Piano leads over synth pad and a muted, slow beat, giving the heaviest and most modern-sounding cue on the set a quiet pulse under its sadness. Nearly two minutes of steady, unhurried grief suited to loss, illness or aftermath footage.

The longest-feeling of the guitar pieces, pairing acoustic guitar and piano with cymbal washes and a smear of distortion that gives it more grit than its neighbours. Good where the melancholy needs an edge — regret with something unresolved under it.

Just acoustic guitar and organ, the sparsest arrangement here, with a repeating figure that matches the title's sense of thoughts looping back on themselves. Very open and static, ideal under narration or a character staring out a window.

Piano over pad and synth, warmer and more atmospheric than the guitar cues, with a yearning quality that fits longing and absence. At 1:40 it's a compact underscore for a memory or a missed connection.

Acoustic guitar with bells and accordion gives this one a faintly European, old-photograph colour that sets it apart from the rest of the album. Wistful rather than devastated — time passing, places left behind.

The fullest band arrangement on the set: acoustic guitar, bass, drums and organ moving together in a slow, sad shuffle. Its rhythm section makes it the best choice when a sad scene needs forward motion rather than stillness.

Acoustic and electric guitars over quiet drums, the electric adding a lonely, reverbed lead line to an otherwise gentle bed. Intimate and slightly cinematic, suited to late-night interiors and unspoken feeling.

Acoustic guitar with bells over a soft beat, the lightest-touched cue here and the one whose title points forward rather than back. At 1:30 it suits a morning-after or fresh-start sequence that hasn't quite shaken its sadness.

Bells and organ over guitar with both drums and programmed beat, making a layered, quietly insistent texture behind the melancholy. Its steady pulse implies holding on rather than letting go — useful under struggle or endurance footage.

The most ambient piece here — organ, piano and synth bass over a sustained drone, with more air than melody. A flat, overcast mood that works as a tension-adjacent bed under narration or empty landscapes.

The shortest cue on the album at 1:12, and the only one with strings and violin alongside guitar, bells, xylophone and vibraphone — a small chamber-toned miniature. Brief, downcast and self-contained, made for a quick sting or a short scene close.

At 2:10 the longest cue here, built from acoustic guitar with bells, xylophone and vibraphone for a delicate, music-box shimmer over the sadness. Its length and finality make it the natural farewell or end-credits choice on the album.

Acoustic guitar and organ over a plain beat that gives the piece a slow, plodding march feel despite its mellow tone. Compact at 1:16 — a downbeat but purposeful walk-away moment or a short transition between chapters.