Dark drum & bass at 174 in F, built on chopped breaks, a heavy sub and cut-up vocal samples used as rhythmic hooks rather than melody. The tribal-leaning title suits a chant-like, percussive treatment; it works as a hard-driving club cue that pushes forward and lands on a full-force final drop.
Slightly slower at 170 and the longest-breathing of the set, this one leans on atmosphere — pads and sub weight under a rolling break rather than constant impact. Its wider intro and instrumental focus make it the most usable bed on the album for narration or dialogue over motion.
The vocal centrepiece of the album: female vocals over a 174 break in C, brighter and more melodic than its neighbours while keeping the dark sub-bass foundation. At 4:17 it has room for a full vocal intro, drop and outro, making it the choice when you want a song rather than a bed.
Tagged without the action or energised descriptors that mark the rest of the album, this 172 cut in A is the moodier, more menacing one — dark synths and sub over breaks with a warier, restrained feel. Short at 3:25 and well suited to suspense that still needs a pulse.
Driving 174 drum & bass in F where processed vocal samples act as the melodic hook over rolling breaks and a deep sub line. The four-minute length allows a proper build, drop and second wave — good for footage that needs sustained forward chase energy.
The only cue in B, which gives it a slightly harder, more metallic edge against the album's F-major bulk; purely instrumental breaks, bass and synth at 174. At 3:22 it is one of the tightest edits here, straight into the drive with little preamble.
Instrumental 174 drum & bass in F with a colder, more melancholy cast implied by the title — dark synth lines riding a relentless break and heavy sub. Four minutes of steady momentum that works for after-hours footage and loss-tinged action rather than celebration.
The most atmospheric of the instrumental 174 cuts, its title pointing at washed synth textures layered over hard breaks and sub-bass. At 3:32 it moves from a hazier opening into full drum & bass drive, useful when you want dreamlike imagery with an aggressive floor under it.
The longest instrumental on the record, a 4:05 run of 174 breaks, sub-bass and dark synths in F that gives an edit the most room to build and release. Its descending title suits footage of collapse or consequence handled at full club energy.