The fastest and shortest cut on the set: 128 BPM electro disco in D flat major, the only major-key track here, with vocoded hook vocals over funk guitar, driving bass and disco strings. Bright and cocky rather than moody, and its 2:30 length makes it an easy edit for a short spot.
A slinkier 115 BPM French house groove in F# minor, with piano and synth layered under guitar, bass and vocoded vocals. The minor key gives it a late-night swagger while the tempo keeps it strutting rather than sprinting — good for confident walk-ins and city nightlife.
120 BPM in F# minor, built on filtered guitar, piano stabs, synth and vocoded lead, with a glitzy, moneyed feel that matches the title. Three minutes of steady dance-floor momentum with no big drop-outs, so it works as a continuous bed for a party sequence.
The longest and most fully arranged track here: nearly four minutes at 115 BPM in A minor, with slap bass, horn punches, strings and vocoded vocals over a classic disco chassis. The extra length allows a full build and breakdown, making it the pick when you need a whole scene rather than a cutdown.
The heaviest cue on the album — 110 BPM in E minor with slap bass, dirty funk guitar and vocoded vocals, tagged heavy rather than summery. Rougher and more strutting than its neighbours, suited to attitude-led sports and street footage.
The softest track on the album: 110 BPM in D minor, guitar-free, leaning on bass, synth strings and vocoded vocals for a tender, love-letter tone. Playful and flirtatious rather than energetic, and its sparser palette leaves room over the top.
A short, sunny 120 BPM cut in G# minor with vocoded vocals, funk guitar, synth and strings, aimed squarely at beach and poolside energy. At 2:36 it is one of the tightest edits here, useful when a spot needs a full groove in under three minutes.