The title cue: a mid-tempo 95 BPM synthpop groove in D minor built on programmed beat, warm bass and layered synths under a male lead vocal. Romantic and slightly wistful rather than euphoric, it works as a full song with a clear verse-chorus shape and a definite ending.
The album's emotional outlier: 92 BPM in C major, with strings added to the beat, bass and synth bed and a heartfelt male vocal about pushing through hardship. Hopeful and uplifting, it builds to an anthemic resolve suited to triumph-over-adversity storytelling.
At 115 BPM in E minor with a driving 4/4 kick and electric guitar cutting through the synths, this is one of the more propulsive, dancefloor-leaning songs here. Funky and forward-moving with a male lead vocal, good for footage that needs continuous momentum.
105 BPM in B flat major, the brightest-keyed track of the set: beat, bass and synths under a warm male vocal, tagged positive and uplifting as well as romantic. Feel-good and open-hearted, it suits people-focused footage that needs sincerity rather than edge.
A relaxed 92 BPM groove in G minor with electric guitar over the synth-and-bass foundation, the longest-feeling of the slower songs at 3:28. The title and uplifting tagging point to a shift from grey to sunny, so it fits recovery, reopening or after-the-storm narratives.
108 BPM in G sharp minor, and at 3:37 one of the longest cuts here, giving more room for the arrangement of beat, bass, synths and male vocal to develop. The minor key and questioning title lend it a reflective, slightly yearning cast within the album's funky 80s frame.
Same G sharp minor and 3:37 length as its neighbour but pushed to 117 BPM with a pulsing 4/4 kick, making it the more club-facing of the pair. Synth-driven and funky with a male lead, it delivers steady four-on-the-floor drive for high-energy cutting.
The fastest cue on the album at 120 BPM in A minor, with acoustic guitar strumming against the synth bass and programmed beat for a slightly organic edge. Positive, uplifting and forward-rolling, exactly as the title suggests, with a male vocal and a clean finish.
The slowest song here at 88 BPM in A minor, a laid-back synth, bass and beat groove with a male vocal that leans introspective more than driving despite the title. Suits mid-scene lifestyle footage and quieter romantic beats that still want a pulse.
109 BPM in E minor, synth-led with beat, bass and male vocal, sharing the album's funky 80s pop language but with a title that pulls toward emotional unravelling. A good bridge cue between the album's brighter uptempo songs and its more reflective minor-key material.