Jae Spinz: Crystal Lake

Title cue of the set: a chilled, moody trap groove in G# minor built on 808 sub-bass, crisp claps and a laid-back programmed beat under autotuned male raps and hooks. At 160 BPM the half-time feel keeps it relaxed rather than aggressive, landing on a clean end.

The most overtly West Coast track here — a slow-rolling 148 BPM beat in D# minor with heavy 808s, dry claps and autotuned male vocals about money and phone calls. At 3:35 it is the longest of the mid-tempo cuts, giving room for a full verse-hook-verse edit.

The lightest cut on the record: A minor, 153 BPM, with an organ line threaded through the 808s and claps for a playful, slightly comic lift under the autotuned rap. Shortest of the full-length songs at 2:19, so it edits fast.

Piano-led and the most wistful of the group — soft chordal figures in C minor over 808 sub-bass and claps, with autotuned male vocals sitting back in the mix. The 136 BPM pace makes it the slowest-feeling of the mid-tempo songs, suited to reflective rather than flexing footage.

At 110 BPM and nearly five minutes, this is the slowest and by far the longest piece on the album — a hazy synth-and-808 bed in C# minor with claps and heavily autotuned male vocals. Its length makes it usable as an extended background music source cue rather than a short montage bed.

The only clean, non-explicit song of the moody group and one of the more broadcast-safe options: piano over 808s and claps at 148 BPM in E minor with autotuned male vocals. The travel-minded title and steady mid-tempo pulse fit movement footage and road sequences.

The most psychedelic cue here — smeared synth textures over 808 sub-bass and claps in G minor at 134 BPM, with autotuned male vocals blurred into the haze. Woozy and unhurried, built for altered-state and after-hours imagery.

Fastest tempo on the album at 162 BPM in D minor, and one of only two non-explicit songs — synth lines over punchy 808s and claps with a relaxed autotuned vocal. Car-culture title and brisk hi-hat feel make it a natural fit for automotive and driving cuts.

The shortest cut at 2:09 — a compact, moody synth-and-808 track in C# minor at 150 BPM with claps and autotuned male vocals. Its brevity makes it a quick-turn option for trailers and short-form promos that need a full song shape in two minutes.

Closing the record in G flat minor at 152 BPM, with cold synth pads over 808 sub-bass and claps and a moody autotuned male vocal. Sits in the same chilled trap pocket as the rest of the album but with the starkest, most detached feel of the group.