High On Lo Fi

A 96bpm lo-fi groove in F#m built on dusty drums and round bass, with warm string pads and a muted trumpet line floating over chopped vocal samples. Relaxed but forward-moving, it holds one easy mood across nearly three minutes rather than building to a peak.

Slow 86bpm lo-fi in bright B major, with clean electric guitar, soft synth pads, a light flute figure and wordless oohs and ahhs drifting behind the beat. The gentlest, sunniest cue here — morning-routine tempo with no dramatic arc.

A short after-dark cut at 87bpm in F#m, leaning on soft piano chords, deep bass and breathy background vocals over a laid-back beat. Its two-minute length and unhurried, slightly wistful tone make it a clean drop-in for night footage.

The shortest cue on the set at under two minutes, a 96bpm Gm groove of electric guitar licks, warm bass, synth washes and glitchy vocal chops. Easy-going and loop-like, it says its piece and gets out.

An 85bpm lo-fi bed in A minor stripped to the essentials — beat, bass, electric guitar and synth, with no horns or vocal chops to compete with dialogue. The most neutral and most VO-transparent track on the album despite its quietly hopeful title.

The most soul-leaning cut here: 94bpm in A minor with Rhodes and Hammond comping under saxophone and horn lines, guitar and a steady dusty beat. Confident and warm, with more melodic personality than the album's sparser beds.

A 92bpm D minor piece that leaves out the drum kit, resting instead on bass, electric guitar, synth, strings and treated vocal samples. Softer-edged and more floating than its neighbours, matching its herbal-tea title, and short at just over two minutes.

The most driving track on the album: 100bpm in D minor with a steady 4/4 kick under Rhodes, Hammond, guitar and trumpet-led horns. Groovier and more club-adjacent than the rest of the set, good where the edit needs pulse rather than wallpaper.

Filed at 136bpm but tagged downtempo, so this reads as a half-time lo-fi feel in A major — bright and relaxed, with Rhodes, Hammond, guitar and trumpet-led horns over a loose beat. Warmer and more major-key optimistic than most of the album.

The highest tempo marking on the album at 156bpm in F#m, which in practice sits as a half-time lo-fi shuffle with piano, sax, horns and flute over a soft beat. Jazzy and unhurried in character, closing the collection with its most acoustic-flavoured palette.