The fullest arrangement on the album: 132 BPM in B minor with piano and pad under bass, drums, electric guitar, reversed textures and male vocals. Driving, epic and defiant across a tight 2:09 — a strong choice for a triumphant closing sequence or an anthemic ad hero moment.
At 90 BPM in F this is the slowest cue here, but reverse guitar, electric guitar, bass and drums keep a deep, driving undertow beneath its dreamy surface. Only 2:02 long and epic in tone — a compact emotional swell for a title card or short film opening.
The darkest of the fast cues: 137 BPM in G minor with electric guitar, drums and reversed textures giving a restless, unsettled push despite the album's uplifting frame. Over 2:39 it fits pressure, competition and psychological tension that still needs forward drive.
Mid-tempo 114 BPM in C with acoustic guitar leading over electric guitar, drums and reversed textures — the sunniest, most organic and happiest-leaning cue on the album. Its playful lift across 2:34 suits lighter lifestyle and youth-oriented picture.
Bright, gliding 137 BPM rock in D, the most effect-laden of the fast cues with delay-treated electric guitar, synth and pedal steel over a driving kit. Weightless and airborne across 2:32 — built for freefall, flight and wide-open speed footage.
The album's melancholy centre: 120 BPM in B flat, synth leading ahead of electric guitar and drums, with sad and wistful shading inside an ultimately hopeful frame. Its brief 2:12 span works as a bittersweet mid-film turn or a sunset-toned closing montage.
At 95 BPM in A flat this is the most atmospheric cue on the album, adding synth and sustained pad beneath electric guitar, drums and reversed swells. Slow-burning and cinematic over 2:55, with plenty of sustained space — good for expansive establishing footage and narrated sequences that need weight without speed.
Driving 136 BPM rock in A flat where pedal steel and reversed textures widen the guitar-and-drums core into something soaring and stargazing. Fun and epic across 2:35 — an easy fit for night-sky timelapse, ambition-themed advertising and forward-motion travel edits.
Compact 2:21 mid-tempo rock at 110 BPM in D flat, with electric guitar, drums and reversed guitar textures giving it a slightly synthetic, dreamlike edge that matches the title's theme of copies and doubles. Short and moody with an uplifting resolution — useful as a tight commercial-length bed.
Mid-slow 101 BPM rock in A flat with a full guitar/bass/drums trio and a deep, moody but ultimately uplifting arc across 2:36. Its plainer rock-band setup suits intimate emotional storytelling — reunion, loss, loyalty — without the ambient effects heard elsewhere on the album.
Relaxed 105 BPM Americana-leaning rock in D flat where pedal steel over electric guitar and soft drums gives it a warm, soothing rural glow. The calmest and most smoothly rolling cue here — good for dusk landscapes, small-town portraits and reflective narration.
Straightforward driving rock at 137 BPM in A flat, stripped to electric guitar and drums with no ambient sweeteners — the most direct, muscular cue on the album. Its steady propulsion and epic sweep over 2:55 fit aerial footage, mountain ascents and open-road sequences.
A slower, dreamier 100 BPM piece built on layered electric and acoustic guitar with reversed swells, no prominent drum drive listed, in a hazy G flat. Its short 2:09 runtime and open, epic-but-gentle character make it a good reflective bed or a scene-setter before a bigger cue.
The album's fastest cue at 144 BPM, pairing driving electric guitar and drums with synth washes, reversed textures and wordless vocal colour in bright D flat. Builds from an atmospheric opening into a wide, euphoric rock lift over 2:45 — suited to rescue-and-triumph storytelling or hard-charging action footage.