Dj Koko Hiras Electronic Goth Child

The album's most restrained cut — deep, sensual synth and bass over a simple beat, running just three and a half minutes. Sparse enough to sit under dialogue or narration in an intimate, low-lit scene.

Playful and strange electronic pop that brings guitar into the synth-bass-drum core, distinguishing it from the rest of the instrumentals. Cool and slightly askew without the darkness of the album's harder tracks.

A short, strange-edged electronic instrumental with quirky synth work over distorted bass and drums. At 3:28 it's compact and off-kilter, better for character or comedy oddity than straight action.

Darker and gloomier than its sibling driving tracks, with distorted bass and hard drums under a moody synth top. Its title points straight at board sports footage shot under overcast skies.

The longest of the instrumental driving cuts at 5:24, giving room for a slower build before the beat and distorted bass fully commit. Cool and propulsive, suited to a scene that needs to escalate over time.

Instrumental driving electronic track with distorted bass, synth and live-feel drums, playful but relentless across four and a half minutes. Built for chase energy and forward motion.

A short, driving electronic cut with female vocal samples over distorted bass and a hard beat. Under three minutes and playful in tone, it hits fast and works for quick-cut action.

The shortest of the arpeggio cuts at 2:50, psychedelic and sci-fi tinted with synth, distorted bass and a deep beat. Its brevity makes it a ready-made edit for a short spot or a single scene.

Arpeggio-led electronic instrumental with distortion and a cool, playful sci-fi edge, running a tidy four minutes. The title's slow-motion connotation fits stylised, deliberate movement rather than frantic cutting.

Nearly seven minutes of arpeggiated synth over a deep beat and distorted bass, with a quirky sci-fi tilt. The long form lets the arpeggio patterns evolve, making it a good bed for extended tech or futuristic sequences.

Intense, guitar-tinged electronic rock crossover with distorted bass and a lead male vocal across a compact 4:26. Aggressive and confrontational, matching its title's crime connotation more than the album's party material.

Inspiring electronic pop with piano over a steady beat and synth bass, warmer and more optimistic than its neighbours. Its measured build makes it useful for aspirational corporate or product storytelling.

The brightest track here — funky, upbeat electronic pop with piano and FX brought in alongside the bass and beat. Happy and uplifting where the rest of the album leans dark, and at 3:37 it's the most edit-friendly of the positive cuts.

Companion instrumental to the other deep synth cuts, built from bass, beat and drums with no vocal layer. Slightly airier in title connotation, it suits open aerial or wide-horizon imagery at a mid-tempo cruise.

A stripped, deep synth-and-beat instrumental with no vocal element, running a steady four and a half minutes. Cool and understated, it works as a bed under dialogue or narration where the earlier vocal cuts would fight.

The longest of the playful cuts at over seven minutes, pairing distorted bass and a punchy beat with female vocal samples and FX sweeps. Fun and flirtatious rather than dark, with room for extended DJ-style transitions.

Dark, mysterious electronic groove with distorted bass, synth layers and chopped vocal samples used as texture rather than melody. Under five minutes it stays tight and driving, suited to night-lit footage with attitude.

A seven-minute club-length electronic track built on distorted bass, hard synths and a driving beat, topped with a lead male vocal. The extended runtime gives it a long build and multiple drops, dark and defiant in tone rather than celebratory.