The fastest cue on the set: a 160bpm chillstep-pop drive in bright E major, with piano figures, arpeggiated synth and chopped vocal samples over a hard-edged beat. The 'Come Back' title and major key push it toward reunion and reconciliation footage, and the energy stays high enough for an end-of-episode montage.
The shortest and most stripped cue here — no piano or guitar listed, just synth pads, vocal samples and a relaxed 106bpm beat in E major. Its confident, upbeat title and lean arrangement make it useful as a bed under narration or a quick 2:43 cutdown.
Guitar-led electro-pop at a walking 100bpm, set in D minor for the most bruised, regretful colour on the album. Vocal samples and a soft beat keep it moving while the minor key suits break-up scenes, late-night driving and looking-back narration.
A 105bpm F# minor cue built on piano, synth textures and chopped vocal samples, running a full 3:21 so it has room to grow. The 'Black n White' title suggests contrast and memory — cut it against archive stills or a reflective retrospective sequence.
The clearest major-key optimist on the album: guitar, synth and vocal samples over a steady 100bpm beat in C. Its plain, hopeful tone and 3:21 length make it a safe pick for uplifting narration or a wedding highlight edit.
Fast and restless at 150bpm in B major, with guitar, synth and vocal samples riding a driving beat. The 'In My Head' title and the tempo point at anxious momentum — racing thoughts, training sequences, urban night movement.
Four-on-the-floor territory at 126bpm in F# minor, with piano, synth and vocal samples over a club-leaning beat. The aspirational title makes it a natural fit for product reveals, upgrade narratives and forward-motion montages.
Shares the 126bpm pulse and 3:18 length of 'Next Level' but sits in F minor, giving it a darker, more yearning cast. Piano, synth and vocal samples over an insistent beat — use it for escape and departure sequences where the drive is emotional rather than triumphant.