The fastest and shortest cut on the set: a 115bpm D minor riff rock trio of distorted bass, dirty electric guitar and hard-hitting drums, with synth thickening the low end. At just over two minutes it works as a punchy, no-filler bed for cut-heavy action footage.
A 110bpm E minor riff rocker with swaggering distorted bass, electric guitar and drums plus a synth undercurrent, running just under three minutes for a full verse-and-chorus arc. Confident and a bit menacing — good for footage that struts rather than sprints.
The title track and the longest cue here: a slower, heavier 100bpm groove in D minor where organ sits under the distorted guitar and bass for a dirty garage-blues weight. Four minutes gives room for a long build and breakdowns, suiting extended narrative sequences rather than short spots.
A 100bpm E minor stomper with Hammond and Rhodes colouring the distorted guitar, bass and drums, giving it a retro soul-rock edge over the rest of the album. Mid-length and swaggering, with a chugging pocket that suits confident, slightly comic attitude.
At 110bpm in G minor, this is the darkest-keyed cue of the set, pairing organ and synth with distorted bass and grinding electric guitar. Its 3:42 length allows a slow-burn escalation into full-band aggression, useful when a scene needs to tighten over time.