Mid-tempo trap beat in C# minor built on programmed drums, sub bass, soft pads and chopped vocal samples, sitting in a smoky, after-hours pocket. The 97 BPM groove stays even and loop-friendly across three and a half minutes rather than climbing to a peak, leaving the top end clear for narration or a rap topline.
A shorter, more playful trap cut in C major that leans on beatbox-style percussion, congas and bell tones over the main beat, with vocal chops used as hooks. At 92 BPM and under three minutes it reads confident and party-leaning while staying relaxed, making it easy to cut to a 30- or 60-second edit.
Double-time trap at 158 BPM in C major, with fast hi-hat-driven programming, synth lines, keys and bongo accents giving it forward motion while the mood stays cool rather than aggressive. The longest of the up-tempo cuts here, it suits footage that needs continuous drive — driving, skating, night-city travel.
Slow, sensual 86 BPM hip hop groove in C major coloured by clean guitar, maracas, bells and synth, with vocal samples floating over the beat. Filed as urban rather than trap, it is the most laid-back and organic-feeling cue on the record, holding one warm mood for three minutes.
F# minor hip hop cue at 97 BPM that pairs piano and synth with sub bass, SFX and female vocal elements, giving it a brighter, slightly more melodic and hopeful edge than the darker trap tracks around it. Compact at 2:44 and mellow throughout, with a fun undertone rather than menace.
The fastest cue here at 177 BPM in C major, a double-time trap beat where flute lines and synths ride over heavy sub bass and rattling programmed drums. Cool and unhurried in mood despite the tempo, it works for footage that needs urgency without anger.
G minor trap instrumental at 145 BPM built almost entirely from synth, electronic drums and vocal chops — the leanest, most electronic-sounding production on the album. Minor-key and moody with a steady mid-high energy that holds for three and a half minutes without a big climax.
The slowest-feeling groove at 68 BPM in C major, with electric piano and flute over sub bass and a soft, spacious drum pattern plus a vocal sample motif. Nostalgic and downtempo, it reads as reflective lo-fi rather than club, and its short 2:55 length makes it easy to place under a monologue.
Warm 84 BPM beat in D flat led by piano, with glitch samples and cinematic transition effects giving it a more produced, filmic shape, and a dedicated outro synth that brings the cue to a clear ending. Grateful in tone — mellow and cool but sincere, useful where a hip hop bed needs a proper landing.
At 65 BPM and nearly five minutes, this G minor cue is the longest and slowest on the album, layering piano and synth over atmospheric texture, bass and a patient beat. The extended running time and open, ambient framing make it a bed you can edit at length rather than a punchy spot cue.