Extreme Metal Vol.1

Mid-fast heavy rock at 130bpm in D flat, built on distorted electric guitar riffing over driving bass and hard-hitting drums. Aggressive and relentless without turning bleak, ending in just over three minutes — a workhorse action bed for competition footage.

A 125bpm minor-key metal cue in D flat minor, guitar distortion and pounding drums pushing a tense, forward-leaning groove. Slightly darker and more clipped than its neighbours at under three minutes, suited to sci-fi or combat cutting.

At 102bpm in G flat minor this one trades speed for weight, with guitar feedback bleeding between riffs and a frantic edge under the mid-tempo groove. Good for chaotic build-and-hit editing where the picture needs space between accents.

The slowest and darkest cue here, 90bpm in A flat minor, with sludgy distorted guitar, heavy drums and feedback creating a moody, oppressive drag. Tagged for slow motion — it works where footage stretches out and menace matters more than speed.

The fastest and most malevolent track on the album, 153bpm in G flat minor with sinister distorted riffing and blast-forward drums. Under three minutes of pure velocity for anything predatory or pursuit-driven.

A 110bpm cue in the brighter key of G flat major, giving the distorted guitars and drums a more emotional, anthemic cast than the rest of the record. Aggressive but moody and open-hearted — an underdog cue rather than an attack cue.

A 95bpm heavy rock cue in B, built on tension: distorted guitar, bass and drums holding coiled energy rather than releasing it constantly. The longest track here at 3:22, giving editors room across a full sequence.

120bpm in E minor, a powerful mid-fast metal cue with thick distorted guitars and driving drums. The muscular, straight-ahead feel and 3:20 runtime make it a dependable trailer or highlight bed.

At 85bpm in E minor this is the heaviest slow groove on the album, distorted guitar and drums hitting with weight and an emotional undertow rather than speed. Built for defiance and consequence scenes.

140bpm in B, the shortest cue here at 2:35 — fast, powerful and economical, with distorted guitar and hard drums driving straight through. Ideal when a spot needs maximum aggression in a tight window.

88bpm in E minor, a slow-marching heavy rock cue whose title points to courage rather than menace: distorted guitar, bass and drums delivering weight and resolve. Its 3:10 length suits a full narrative build.

95bpm in B minor but tagged frantic and crazy — a short, unstable 2:27 burst of distorted guitar and drums that feels wilder than its tempo suggests. Good for chaotic, punk-leaning cuts.

125bpm in D major, one of the few major-key cues here, giving the distorted guitars and pounding drums a heroic, uplifting drive. Powerful and open rather than dark — a rallying cue.

133bpm in G flat minor, fast and forceful with distorted guitar riffing over relentless drums, the title suggesting rise-from-the-ashes momentum. At 2:45 it works as a compact triumphant-aggression bed.

150bpm in A flat minor, near the top of the album's tempo range, with galloping drums and heavy distorted guitar giving a hard-charging ride feel. Aggressive and propulsive across 2:51.