A driving 174bpm indie rock cue in F# built on distorted electric guitar, punchy bass, drums and handclaps, with a rebellious teen swagger rather than a polished ad gloss. Runs a tight 2:26 and stays hard-hitting throughout, making it a straightforward drop-in for skate, BMX or street-sport footage.
The fastest of the album's mid-range cuts at 184bpm in E, this is bright, feel-good clap-and-guitar rock with a confident, happy lift and no darkness in it. At 2:09 it's the shortest cut here, sized for a vlog intro or a sunny lifestyle ad rather than a long montage.
The slowest and heaviest-swaggering track on the record at 130bpm in F, leaning on a strutting electric guitar riff, thick bass and unhurried drums with no claps to lighten it. Its 2:48 runtime and badass, sexy attitude suit slow-motion entrances, car reveals and gym footage more than sprint-paced cutting.
At 149bpm in A minor this is the one alternative-rock cut on the album with a minor-key edge, though the guitars, bass, drums and claps still push toward an uplifting payoff. The 2:33 length gives a full build-and-release shape for travel or getaway footage that needs a bit more grit than the major-key tracks.
A flat-out 200bpm punk-leaning rock burst in C# with clapped backbeat, fuzzy electric guitar and relentless drums. Only 1:57 long, so it works as a short-form adrenaline hit for a 30- or 60-second ad or a fast-cut highlight tag.
Shares the 200bpm charge of its neighbour but sits in D# and runs a longer 2:36, giving more room for the guitar-bass-drums-and-claps arrangement to build and land. The title's go-get-it urgency points it at goal-chasing, training and race-day footage that needs sustained momentum.
187bpm in C and the only cue here to add keys to the guitar, bass, drums and clap core, which gives it a slightly brighter, more melodic ad-friendly texture. Confident and uplifting across 2:35, it fits basketball or underdog-attempt footage where the edit needs a clear triumphant arrival.