A slow-swaggering 96 BPM riff cue in E where wailing harmonica sits over distorted guitar, fat bass and trailer drums, giving it a dusty outlaw-blues edge the rest of the album lacks. Risers and ramps push it through repeated hits toward a heavy final statement.
The darkest and most electronic track here: 120 BPM in E with 808 sub-bass under distorted guitar and trailer drums, leaning into mystery and psychological menace rather than blues swagger. Rises and impacts structure it as a tension-forward trailer bed that stays threatening to the end.
Mid-tempo 97 BPM southern-fried rock in E built on gritty guitar riffs, distorted bass, drums and trailer percussion with a retro bar-band snarl. Ramps and risers drive it in blocks toward a hard-hitting close in just over two minutes.
The fastest hard-rock cut on the album at 140 BPM in E, a saluting arena riff with distorted guitars, driving bass, drums and trailer hits. Retro and rustic in flavour but modern in weight, escalating through ramps to a full-tilt finish.
At 100 BPM in E and the longest cut here, this one takes its time with a venomous southern blues-rock groove of distorted guitar, thick bass and trailer drums. The extra length gives room for multiple riser-and-ramp builds before a decisive payoff.
A compact 1:50 cue at 105 BPM in E with a strong 70s vintage bent — raw bluesy guitar, distorted bass and drums bolstered by trailer percussion. Tight and punchy, it moves through ramps to an emphatic ending with little wasted space.
The lightest and most playful cue on the album, a short 1:41 romp at 110 BPM and the only track in A, with handclaps riding alongside distorted guitar, bass and trailer drums. Fun and cocky rather than menacing, useful when action needs a wink.
The slowest cue at 85 BPM in E, a heavy strutting rocktronic groove where claps and a siren sit over distorted guitar, bass and trailer drums. The low tempo makes it feel bigger per beat, with a vintage cocky attitude and a clear final landing.