The only cue here built around wordless female vocal samples layered over piano, sustained strings and a low sub drone, at a floating 120bpm in B flat. Bright and airborne rather than sad, it suits fluttering, small-scale nature imagery and slow-motion or timelapse edits; at just over two minutes it works as a short scene-setter.
Instrumental ambient underscore at 100bpm in F#, piano figures suspended in pads, drone and soft string beds with no vocal layer. Dreamlike and inward-looking, matching its title — good for reflective interview passages and memory or reverie footage where dialogue must sit on top.
At 2:36 one of the longer cues, moving at 120bpm in G# with piano over strings, pad and sub drone. The title's self-discovery angle and the extra length make it suitable for a journey arc — hiking, road or personal-growth footage that needs room to develop before it settles.
A gentle 100bpm ambient piece in D#, piano and strings floating over synth pads and a low sub. The childlike, space-tinted title points at wonder and small-scale curiosity — well suited to children's science content, planetarium visuals or a quiet imaginative sequence.
The slowest cue on the album at 90bpm in G, with piano, strings, drone and pad giving the most spacious and melancholy reading of the record's palette. Its isolation-themed title fits solitary footage — an empty landscape, a lone figure, a difficult passage in a personal documentary.
A 106bpm ambient underscore in F#, piano and strings held inside pads and sub drone, running a compact 2:06. The quietest-feeling title on the album; use it where stillness itself is the subject and narration needs unobstructed space.
At 2:58 the second-longest cue, a 102bpm ambient piece in G with piano, strings, pad and a warm sub drone. Its lullaby framing and generous length make it the album's soothing bedtime option — night skies, sleeping children, end-of-film wind-downs.
The album's title cue, 120bpm in G, piano and strings over drone, synth pad and sub for a cold, luminous ambient feel. Aimed squarely at aurora, ice and polar imagery, and at slow-motion or timelapse nature edits that want awe without drama.
The longest track here at 3:09, 110bpm in C#, with piano, strings, pad and sub drone giving the widest runway of any cue on the album. The reunion-suggesting title and the extra length suit an emotional arrival or resolution scene edited in full without looping.
One of two cues with female vocal in the mix, an ethereal wordless line over piano, strings, pad and sub drone at 106bpm in G#. Aquatic and otherworldly per its title — a natural fit for underwater photography, coastal footage and fantasy-tinged slow motion.