Warm mid-tempo house at 118 BPM built on piano chords, four-on-the-floor beat and a lead female vocal, aimed squarely at feel-good summer territory. It plays as a romantic, positive club record rather than a peak-hour banger, resolving on its final chorus.
Anthemic 114 BPM EDM-dubstep hybrid with piano, synth stacks and a male lead vocal, structured for a lift into a heavy drop. Suits slow-motion action photography where an uplifting vocal hook is wanted over the impact.
Half-time-feeling 100 BPM EDM cut using piano, chopped glitch vocals and wide synths instead of a sung topline, so the vocal works as texture. Playful and uplifting, it fits slow-motion surf and mountain footage that needs momentum without a singer competing with picture.
The shortest and fastest of the glitch-vocal instrumentals at 120 BPM and 2:44, pairing piano figures with stuttered vocal chops and dubstep-weighted synth bass. Its brevity makes it a tight edit bed for a punchy sports or aerial cutdown.
A trap reworking of the album's title cut, dropping to 82 BPM with hard 808s, glitched vocal chops and dark synth atmosphere. Menacing and swaggering, it suits crime and street footage as an instrumental-leaning alternative to the rapped original.
At 3:41 the longest club cue here, a 117 BPM house-dubstep blend with organ, guitar, glitched vocal chops and a deep, emotional undertow. The extra length gives room for a proper breakdown and build, making it useful when a scene needs a full arc on the dance floor.
The most aggressive instrumental on the record, a 160 BPM trap-leaning cut with sharp 808 programming, glitched vocal stabs and haunting synth lines. Dark and seductive with a comic edge, it suits strutting entrances and hard-cut sports or crime footage.
Sparser than its neighbours — no piano tagged, just beat, synths and chopped vocal fragments at 100 BPM — giving a cooler, more playful electronic groove. Its restraint makes it the most narration-friendly of the extreme sports cues.
A 141 BPM trap-tempo version of "Americorp" featuring rapped male vocals from guest Will Spitwell over arpeggios and 808s, with an overtly political, satirical bent. Built for news-parody and campaign montages that want attitude rather than neutrality.
The album's title track and longest cut at 3:48, an 82 BPM trap piece with rapped male vocals, 808 sub-bass and arpeggiated synth over a dark, haunting bed. The slow tempo and length suit extended gritty montages and title sequences.