The slowest and longest cue on the set: a 76bpm D minor waltz lilt built from unsettling strings and solo violin, wordless female and background oohs/ahhs, and sound design scrapes that erode the lullaby feel. Trailer drums arrive to push it from music-box eeriness into full dread across three and a half minutes.
A 98bpm E minor cue with a sickly forward pulse, pairing child-like wordless vocals and oohs/ahhs against scratchy sound design and tense string writing. At 2:53 it moves quickly from queasy quiet to hammering trailer drums, suiting an illness or possession angle.
The only vocal-free cue here: 100bpm in A minor, resting on sound design, scrapes and strained violin over synth beds with trailer drums for impact. The shortest and most sparse of the set, which leaves it the most usable under narration or dialogue.
At 107bpm in F minor this is the mid-upper tension cue, with haunting wordless female vocals and oohs/ahhs floating over grinding sound design and nervy strings. Trailer drums drive a body-horror or missing-person reveal across three minutes.
The fastest and most aggressive cue, 121bpm in G minor, where child-like vocal lines and background oohs/ahhs are overrun by heavy trailer drums, violent string figures and metallic sound design. Built for the final act of a trailer or an outright confrontation with the antagonist.