The album's title cue and its fastest: 134 BPM electro-pop in D minor built on a hard four-on-the-floor beat, wide synth lines, driving bass and trailer drum hits for the impacts. Aggressive from the top and resolving on a clean button, it suits cut-to-picture speed footage.
At 106 BPM this is the slowest and most swaggering track on the set, a G-flat minor electro-pop groove with processed female vocal snips over synth, bass and trailer drums. Sexier and heavier-footed than the rest of the album, better for late-night attitude than outright chase.
124 BPM D minor party-leaning electro pop with a punchy synth hook, club beat, bass and trailer drum accents. The title's homeward pull gives it a slightly euphoric, end-of-the-night lift while staying firmly danceable.
130 BPM in G minor, with chopped female vocal snips, snarling synth lines, bass and trailer drums built around drop-and-rebuild dynamics the title implies. Slightly darker in key than the album's D and E minor cues, good for glamour with an edge.
An E minor 127 BPM electro-pop driver with female vocal fragments riding a tight beat, synth arpeggios, bass and trailer drum impacts. Named for sync work and edited that way — steady tempo, obvious hit points for cutting to picture.
The shortest cue at 2:01 — a compact 128 BPM E minor trance-pop hybrid with female vocal snips, big supersaw synths, beat and bass, and no trailer drum layer, so it stays more electronic and less cinematic. Cut-down length makes it a natural fit for a 30- or 60-second spot.
A lean 2:19 at 124 BPM in E minor: cool, metallic synth work over beat, bass and trailer drums with no vocal layer, so it sits under narration more easily than its neighbours. Sleek and observational rather than celebratory.
126 BPM in G minor, instrumental trance-pop with sustained synth pads, driving bass and a steady club beat and no trailer drums or vocals. The bleaker title and darker key make it the most brooding of the fast cues, still propulsive but not celebratory.
The most uplifting cue here: 127 BPM D minor electro pop with bright synth leads, bass, club beat and trailer drum impacts, tagged inspiring rather than purely aggressive. Suits footage where speed carries a sense of freedom or triumph.
At 3:18 the longest track on the album, a 128 BPM E minor trance-pop build with chanted vocal hooks, big synths, beat and bass and room for more than one drop. Its extra length makes it the choice when a scene needs to sustain rather than be cut down.
128 BPM in G minor with chanted vocals, trance synth layers, bass, beat and trailer drums across 2:41 — the widest, most cinematic-sounding cue of the set thanks to that drum layer sitting under the chants. Stormy title and minor key give it weight behind the speed.