The album's fastest-driving male-vocal cue at 125 BPM in B, pairing an electronic beat with live cello, piano and orchestral drums under a lead vocal. Tags point to the darkest emotional territory here — loss, despair, suicide — with a small intimate opening giving way to choir and full trailer percussion. Suits a bleak-but-cathartic final act rather than an uplift.
Title track and the longest cue at 3:28, a female-led alt pop rock build in E minor at 106 BPM with piano, guitar, live cello, synth and choir over big orchestral drums. The mood set is breakup and romance turned powerful and inspiring, so the arc runs from intimate confession to a wide-open ending. Best where you need runway for a full narrative trailer or a long-form emotional montage.
Mid-slow 96 BPM in F# with male lead vocal, cello, piano and a distorted beat that gives it more grit than its neighbours. Dreamy and somber at the top, building through strings and choir into a heavy trailer-drum finish across 3:26. Good for waking-up, revelation or aftermath sequences.
Female-vocal cue in E minor at 106 BPM with a straight 4/4 club-leaning pulse under cello, guitar and orchestral drums, pushing further toward EDM than the rest of the album. Haunting and romantic but forward-moving, and at 2:42 it gets to its big choir-backed ending quickly. Works for descent-and-fight-back storytelling.
Male-vocal rock pop build at 95 BPM in B, marked by a marching pulse and hopeful undertow that make it the most openly optimistic cue on the record. Piano and guitar open small, strings, choir and orchestral drums carry the last third of the 3:17. Suits the moment a character chooses to keep going.
The slowest of the female-vocal tracks at 84 BPM in F minor, dreamy and haunting with cello, piano and guitar and audible distortion adding weight to the back half. Its low tempo and 2:48 length make it a compact, heavy-footed build rather than a runner. Good for slow-motion, grief or a brooding trailer act two.
At 71 BPM in A this is the album's slowest cue, a male-vocal ballad with piano, synth, guitar and a marching 4/4 pulse that grows into choir and orchestral drums. No cello listed, so the weight comes from strings and percussion rather than solo bowing. Ideal where a memory or trauma refuses to fade.
The only instrumental main mix here — no lead vocal or choir, just piano, synth, guitar, strings, beat, distortion and orchestral drums at 98 BPM in B flat. Dreamy and haunting but reassuring in tone, which leaves it open for narration or dialogue where the sung cues would fight it. The go-to on this album for voiceover-led trailers and brand films.
Male-vocal electronic pop at 101 BPM in G#, built on piano, synth, guitar and a marching beat with choir and orchestral drums at the peak; no cello in the palette, giving it a cooler, more synthetic sheen. Nocturnal and romantic, it fits city-at-night imagery across a tight 2:41. Cuts well for a single trailer act or a 60-second spot.
The fastest cue on the album at 128 BPM in D, female-led rock pop with cello, guitar, synth, distortion and full orchestral drums. Dreamy and somber at the outset but driven, resolving into a big choir-and-drum ending inside 2:47. Best for chase, escape or a final-act montage that needs urgency alongside the emotion.