A slow, heavy half-time stomp in D minor built on distorted guitar riffs, thick programmed beat, claps and chopped vocal samples, giving it a rock/hip-hop hybrid strut. The pace is deliberate rather than fast, so it reads as attitude and menace instead of speed — good for slow-motion entrances and athletes staring down a camera.
The album's vocal-led cut: male lead vocals over grinding distorted guitar, heavy beat and claps at a swaggering half-time 76 BPM in E minor. Angst and cocky bravado in equal measure, best where you want the song itself to be part of the scene rather than a bed under dialogue.
Fast, upbeat 132 BPM riff rock in A minor with distorted guitar, handclaps and synth stabs, leaning to the fun and feel-good end of the album rather than the aggressive end. Straight-ahead driving momentum with an anthemic lift, suited to comedy action and montage cutting.
The most textured cue on the album — 94 BPM in C# minor with distorted guitar and claps layered against synth and strings, giving a wider, slightly cinematic sheen over the swagger. Its slower tempo and 2:33 length make it the best choice when you need attitude that can breathe under a voiceover.
Rock-pop at 130 BPM in A minor with distorted guitar, claps, synth and strings adding scale to the riff. The title's face-off tension is carried by drive rather than dissonance, so it works as confrontation music that still feels fun.
A grinding 84 BPM half-time cut in A minor — heavy beat, distorted riff and claps, gritty and angst-heavy with no melodic sweetener. Slow enough to leave gaps between hits, making it useful under voiceover or as a brooding intro before a faster cue takes over.
At 2:42 the longest cue on the album: a 124 BPM A minor rock shuffle with distorted guitar, claps and synth, raunchy and road-worn in keeping with the title. Its extra length gives editors room for a full narrated segment without looping.