The album's darkest cue: Rhodes chords over Hammond and synth pads in B minor, moving at a steady 120 bpm that gives it a quietly procedural pulse rather than a groove. Melancholy and unresolved-feeling, it suits investigative footage — evidence walls, case timelines, a detective thinking alone late at night. At 2:18 it is the longest track here and holds a scene without demanding attention.
One of only two cues on the album with bass and percussion, giving this 94 bpm C major piece a gentle jazz lilt under the Rhodes, Hammond and pads. Dreamy and reflective with a slight forward motion, it works for travel and displacement narratives — long drives, arrivals in unfamiliar cities. Warmer and more rhythmic than the album's pad-only tracks.
Rhodes, Hammond and soft synth in D major at 94 bpm, unhurried and hazy with a somber undertow that keeps it from turning sweet. Ideal for seasonal transition footage, empty landscapes, or a quiet interview about change. Sparse enough to sit far under narration for its full 2:06.
At 112 bpm this is the album's second-briskest cue, with strings joining the Rhodes, Hammond and synth for extra lift in C major. The playful title and quicker pulse suit light forward-motion sequences — city cutaways, time-lapse, process shots — while staying calm and atmospheric. Short at 1:58 and useful as a mid-piece bridge.
A tender, emotional Rhodes cue in A major at 94 bpm, tagged sad and melancholy despite the bright key — hope held quietly rather than declared. Hammond and synth keep the bed intimate and small, good for a patient's recovery, a bedside scene, or a personal testimony. Restrained throughout its 2:01 with no build.
Rhodes with Hammond and synth pads in D major at 98 bpm — slightly more animated than the album's slower cues but still soft-edged and dreamy. Suits morning light, waking-up sequences, and observational documentary footage where the score should shade rather than lead. Clean two-minute length for edit-to-picture work.
Strings warm the Rhodes, Hammond and synth here, and at 90 bpm in C major it is the most openly uplifting of the calm cues without ever raising its voice. The title points to flight and support — good for footage of care, mentorship, or slow aerial shots. Shortest of the string-backed pieces at 1:50.
Rhodes over Hammond and synth in G major at 95 bpm, floating and mid-tempo with a cool, slightly clinical calm that fits the science and technology tagging. Works for data visualisation, research lab footage, or signal-and-communication imagery. Just under two minutes and sparse enough to disappear beneath narration.
The album's laid-back groove piece: bass and light percussion under Rhodes, Hammond and synth at a slow 82 bpm in C major. Sunlit and easy, made for coastal drives, cafe scenes and morning-routine footage. At 1:36 it is the shortest cue on the record, handy for short-form cutdowns.
The slowest and most overcast cue on the album — 72 bpm in G sharp minor, Rhodes chords hanging over Hammond and synth pads with plenty of air between them. Somber and interior, built for rain-on-glass shots, grief, or a character alone with a decision. Runs 2:16, long enough to underscore a full quiet scene.