Driving 139bpm indie pop-punk in A flat minor, built on distorted electric guitar, bass and a hard-hitting kit under female lead vocals. Dark and romantic at once, its under-two-minute length keeps it tight and edit-friendly for fashion and lifestyle cuts about longing or self-destructive attraction.
At 120bpm in E flat minor this is the moodiest mid-tempo cut here, pairing female vocals with chopped vocal samples and effects over guitar, bass and drums. The title's weary resignation suits footage of repeating mistakes, late-night city driving or a relationship cycling back to the same place.
The fastest and brightest track on the album: 168bpm in E flat major with male vocals, punchy guitars, bass and drums pushing a run-for-it energy. Ideal for escape and departure imagery — skate footage, road trips, spring break, anything that needs momentum in under two minutes.
The one instrumental-leaning cue on the record and the slowest at 90bpm in G minor, with synth layered under electric guitar, bass and drums. Its heavy, brooding pace and 2:37 length make it the best bed for narration or slow-motion, smouldering visuals.
Fast 160bpm indie rock in C minor, no lead vocal — just guitars, bass, drums and vocal samples and effects for hooks, leaving room over the top. Energized and slightly reckless, it works for nightlife, gym and momentum-building sequences that need drive without a singer competing with dialogue.