King Of Sexy Beasts

Title cue of the set: a 130bpm E minor future bass strut built on toms, hard claps and a distorted guitar riff cutting through the synth bass. Struts rather than sprints, with a swaggering hook that suits comedic bravado as much as straight action.

Half-time 80bpm trap stomper in A, heavy on toms, gang claps and mangled vocal FX for a lumbering, gorilla-sized swagger. The slow tempo gives every hit maximum weight, ideal for slow-motion muscle and comic menace.

Fastest of the tribal-electro cuts at 136bpm in C minor, pairing didgeridoo drone and chanted vocals with arcade-style bleeps and video-game sound effects. Manic and cartoonish, it plays as chase music with a wink.

Tribal electro at 130bpm in C minor driven by didgeridoo, hand claps and layered chants over club-weight synth bass. Shortest cue on the album at just over two minutes, so it works as a tight, punchy insert.

Mid-tempo 100bpm trap groove in F minor with toms, claps, distorted bass and chopped vocal FX for a woozy, psychedelic swagger. Slower and hazier than the album's chase cuts, better suited to strutting attitude than outright speed.

At 94bpm in G minor this is the hardest-hitting slow trap cut here, stomps and claps landing wide with distorted synth bass and vocal stabs. Brief and blunt at just over two minutes, built for impact rather than development.

The fastest cue on the album at 160bpm in D minor, a future bass double-time romp with stadium claps, toms and chopped vocal FX carrying an Indian dancefloor flavour. Relentless and comedic, it barely lets up across its two minutes.

A 120bpm A minor hybrid of trap and future bass, mixing didgeridoo drone and stomps with claps, toms and distorted vocal chops. The most straightforwardly danceable tempo here, with a slimy, tongue-in-cheek bass tone.

130bpm in F minor, and the only cue on the album with a female vocal alongside the chopped vocal FX, didgeridoo and stomping trap-flavoured drums. Sultry and sly, it leans on the seductive edge of the album's action energy.

Four-to-the-floor EDM-leaning cut at 128bpm in F#m, with didgeridoo, stomps and claps over a Latin-tinged percussion swing and distorted synth bass. The clubbiest track on the album and the easiest to drop into a party scene.