60 cues
At 3:11 the longest cue on the album, a gently rolling B minor bed at 90 BPM where piano notes float over continuous drone and pad texture, matching the water imagery of the title. Its length makes it the practical choice for long-form narration or extended massage and meditation content. Fits spa and wellness visuals, underwater or coastline footage, and slow-motion nature photography.
Fastest tempo on the album at 140bpm and in D major, driven by bass and strings against tongue drum, water handpan and waterphone for a liquid, shimmering surface. Anticipatory rather than tense, it fits a decision point in a journey narrative or a purposeful trek sequence.
The most explicitly Chinese-instrumented cue on the album, with guqin and qudi flute plus wordless voice over drone, pad, piano and light percussion at a slow 85bpm in B minor. Spacious and pensive, it fits period or ceremonial imagery and slow-motion character introductions.
The longest cue at 5:03, a 100bpm G minor journey layering shaman drum, tabla, madal and shakers under strings, pads and pulse, with ocarina, whistle and wordless vocals surfacing over bells and ting sha. Risers and rainstick shape it as slow-building tribal tension that can carry a whole investigative or expedition sequence.
Title cue: a 90 BPM arpeggio in B with pads and a light pulse, tilted slightly darker and more somber than its neighbours despite the major key. Steady and unhurried, holding one mood rather than climbing to a peak. Suits physics and space footage, or a reflective passage in a science documentary.
Generative modular synth patterns drift over a soft sub bass in D major, with no percussion and no fixed tempo — the pulse comes from slow filter and sequencer movement. Warm and untroubled throughout, it suits underwater camera work, macro nature imagery and calm medical or wellness narration.
At 53bpm this is one of the slowest and most spacious pieces on the album, electric guitar washes over bass, synth pad and strings in E. The title's recovery theme suits footage of resilience — rehabilitation, rebuilding, the moment before someone tries again. Almost entirely textural, ideal under speech.
The fastest track on the album at 98 BPM in D minor, with piano over synth drone giving a restless, travelling motion. Suited to aerial desert or space imagery, expedition footage and long-distance journey montages where the pace needs to keep moving under narration.
The outlier: a beatless ambient underscore of synth and pad only, in bright F major, with no drums or vocal elements at all. Despite the 160bpm marking it feels suspended and calm, designed for slow-motion, timelapse and nature footage and for sitting far under dialogue or voiceover.
The one minor-key A flat cue at 109bpm, giving piano, strings and synth a cooler, more analytical shade with restrained percussion beneath. Suits deconstruction and investigation footage — taking something apart, examining data, an unresolved research thread.
The only cue here built around wordless female vocal samples layered over piano, sustained strings and a low sub drone, at a floating 120bpm in B flat. Bright and airborne rather than sad, it suits fluttering, small-scale nature imagery and slow-motion or timelapse edits; at just over two minutes it works as a short scene-setter.
B flat minor felt piano at a slightly relaxed 110, nostalgic and distant in keeping with a title that looks a long way back. Two minutes of intimate, softly damped playing with plenty of air around the notes, ideal for archive photographs and memory sequences.
Mid-tempo 75bpm post-rock in A flat and the one cue on the album that carries male vocals alongside wordless backing voices, over acoustic drums, piano, pads, strings and electric guitar. The most human and anthemic entry here, building to a soaring close.
The slowest cue on the album at 83 BPM, a neoclassical underscore in E minor with strings, piano, wordless background vocals and a soft beat under a wide ambient bed. Somber and dark at the outset with hope creeping in, it plays as a reflective breather. Sparse enough to carry narration.
At 68bpm in D minor this is the album's slowest and longest statement, stripped to piano and violin alone. Sombre and openly grieving with a thread of hope, and the 4:17 length gives room for a long scene or a full narrated passage.
The album's slowest, most reflective tension bed: tank drum figures ring out over sustained drone and sparse hand percussion, with bassoon shading the low end in D flat minor. At 86 BPM it broods rather than pushes, holding an unresolved investigative mood for just under two minutes.
A drone-and-pad bed in D minor with plucked suntur figures and slow swells pushing it forward at 120bpm without ever raising its voice. Restless but unresolved, it sits under narration comfortably and suits water, coastline and wilderness footage. Best used as a tension bed rather than a cue with an arrival point.
Anthemic 120bpm indie rock in F#m, layering synth, strings, xylophone accents and electric guitar over rock drums and a solid kick. Tagged as building and soaring, it climbs from a slightly darker minor opening to a heartfelt widescreen payoff — good for journey narratives and emotional brand films with an underdog arc.
Eurorack textures in B major with piano touches placed inside the synth haze, the longest-breathing of the album's brighter cues at 4:27. Ethereal and reflective without building to any peak, good for slow reveals of reef, sky or laboratory imagery under voiceover.
Airy piano figures over a sustained drone with scattered sound design, moving at a brisk 138 in C major that reads calm because the piano stays sparse. Neutral and open across two and a half minutes, with no dramatic lift — a bed rather than a statement. Suits cloud timelapse, observatory footage or a meditation app promo.
The slowest cue on the album at 50bpm in D flat, pairing deep drones and pads with French horn and wider brass for a weightier, monument-scale feel. Anticipation builds gradually over 3:05 without ever breaking into rhythm, suiting ancient sites, archaeology and human-history segments.
At 110bpm in D minor this is the more restless piece of the set, piano and guitar figures over strings with ethereal vocal colour and atmospheric FX, no drum kit to anchor it. The title's ambiguity fits investigative scenes where an ally may not be one — interview cutaways, evidence review, dawning suspicion.
The title cue: 80 BPM, B flat minor, drone and pad foundation with a repeating synth arpeggio circling under hand percussion and flute. Mysterious but serene, it turns in place like a pattern rather than developing, and its tight three-minute length makes it an easy drop-in. Good for ancient architecture, sacred sites, science-of-patterns explainers and slow drone footage.
Short E flat minor piano miniature at 110, its Vermont sugaring-season title pointing to something rural, weathered and quietly grieving. Warm felt tone and a tight 1:46 runtime make it useful as a tucked-under bed rather than a feature cue.
Sparse piano figures over analogue synth drone at a slow 70 BPM in A flat minor, unsettled and introspective rather than overtly threatening. The title's sense of things coming apart suits footage of a case or relationship deteriorating, and the drone-led bed leaves room for narration.
The title cue, a reggae-inflected electronic groove in Eb with bass, synth, guitar and strings plus horns and trumpet lifting the top end. It is the brightest-textured track here, mysterious but forward-leaning, and the horn colour sets it apart from its sibling reggae cue. Suits footage of change and arrival.
73bpm in G, drumless, with ambient electric guitar layered over bass, synth pad and strings across a patient 3:12. The title's fresh-start theme lands as a slow bloom from moody stillness toward warmth. Good for chapter-opening scenes and quiet renewal footage.
A 69bpm underscore in E where brass and strings sit over the drone bed, giving a cool, noble northern tone across its 3:11 run. Reflective and unhurried, it grows in body toward the back half — good for fjords, forests and long aerial passes.
At 2:36 one of the longer cues, moving at 120bpm in G# with piano over strings, pad and sub drone. The title's self-discovery angle and the extra length make it suitable for a journey arc — hiking, road or personal-growth footage that needs room to develop before it settles.
A brighter outlier: 116bpm in G major, with piano figures over pads, drone and distant choir for a wondrous sci-fi lift rather than dread. Short at 2:28 and still mysterious, it suits discovery beats and reveals inside an otherwise dark narrative.
Slow 60bpm cue in D major, unusually warm for the album, with piano, cello and strings over a soft beat and a distinct ticking clock element that adds quiet urgency. The major key and the clock make it good for time-passing montages, a countdown to a decision, or a tender reunion scene.
Instrumental ambient underscore at 100bpm in F#, piano figures suspended in pads, drone and soft string beds with no vocal layer. Dreamlike and inward-looking, matching its title — good for reflective interview passages and memory or reverie footage where dialogue must sit on top.
The most human-sounding cue here: male vocal chant floats over drones, pads, cello and strings in an open C at a walking 100bpm. Its inspiring lift makes it the album's choice for a wide aerial reveal or a reflective closing sequence rather than pure suspense. Nearly three minutes gives room for a slow build.
95bpm post-rock in D that balances the album's soaring band sound — acoustic drums, electric guitar, piano, pads, strings, airy background vocals — against somber, introspective tags. A cleansing arc: sparse and reflective before it opens out.
At 99bpm this is the slowest and most spacious track on the album, piano and strings in D floating over synth pad and sparse percussion. Reflective and unhurried, it fits reveal moments, patient voiceover, and quiet medical or wellbeing footage.
A synthetic outlier: pads, drone, processed FX and percussion replace the tank drum and bassoon, producing a wider, more otherworldly tension space. At 2:24 it is the longest cue on the album, offering plenty of room for narration over an unresolved D minor bed.
A 111 BPM groove in B flat minor built on drone, pad and light percussion with flute and processed vocal textures floating above the beat. Faster than the meditative cues but still hazy and unresolved in feel, it suits sequences about time, memory and shifting perspective. Good for time-lapse edits, science-of-time features and abstract title beds.
A 90bpm G minor underscore built on piano and sustained strings with cello underneath, a soft beat pulse and wordless vocal texture giving it lift. Somber but hopeful, it opens wide rather than pushing hard, suiting aerial landscape footage or a reflective mid-episode passage in a documentary.
One of two electronic-leaning cues, pairing piano and synth arpeggio with a soft kick over drone and pad in A flat minor. The pulse gives editors a rhythmic spine for procedural or forensic sequences while the harmony stays cold and unresolved. At just over three minutes it covers a full investigative scene.
At 86bpm in A this is one of the more forward-moving beds, adding koto to the drone and pad foundation for an East Asian colour over high-altitude imagery. The shortest track here at 2:36, it keeps a calm, meditative surface while implying ascent and discovery.
The one cue on the album without a pulse layer: piano, cello and airy wordless vocal drift over guitar texture and soft FX in E flat, so it floats rather than moves. Warm but shaded with melancholy, it suits reflective narration and slow landscape imagery.
An 80bpm E minor cue with a synth arpeggio bed, flute over the top and brass with percussion adding weight — mysterious and wondrous rather than menacing. The slower tempo and airy lead give it a curious, investigative sci-fi character across 2:51.
At 5:36 the album's longest cue, an F# minor modular ambient bed of evolving pads and low bass that leans mysterious rather than serene. The minor cast and the sunken-city title fit deep-water descents, wreck exploration and archival mystery sequences.
At 5:17 the longest piece here, 76bpm in E with piano, strings and drums and no synth layer — an acoustic, romantic slow build with room to develop across several scenes. Tagged for spring, it carries warmth and quiet longing rather than corporate polish.
A minor-key underscore at 110 BPM where a steady pulse sits under piano, strings and cello with ethereal vocal haze and FX. The F minor colour and title push it toward emptiness and unease rather than uplift, holding tension without a full release.
Also 120 BPM but in B flat and without drums, so the motion comes from the piano figure itself over ambient strings and synth — noticeably airier than its drum-driven neighbour. Best where the picture is already busy and the score should lift rather than push.
At 153 BPM this is among the fastest on the album, though the piano-drone-synth palette keeps it weightless rather than urgent; C major keeps it plain and optimistic. Nearly three minutes of neutral motion with no big arrival, built to sit under speech. Good for hyperlapse city footage, a tech explainer, or a product build.
The shortest and most wistful cue of the group: piano, strings, pad and drone with no percussion at all, carrying a touch of sadness inside its dreamy calm. Suits tender, bittersweet moments and memory imagery where the music should ache slightly without becoming heavy.
The slowest and only major-key cue here: F major at 68, wide open and tender, with long gaps between phrases on the felt piano. The warmth of the tuning and the wistful title make it the album's most consoling moment — regret without bitterness.
The one major-key cue on the record: C major drones and pads with tabla, soft beat, flute and wordless vocal samples, giving it an open, hopeful tone amid otherwise minor surroundings. Mid-paced at 90 BPM and over four minutes, it holds a calm, curious mood throughout. Use for AI and consciousness explainers, humane technology brand films, or optimistic nature narration.
At 82bpm in A flat, this is one of the more forward-moving cues on the set: a steady four-on-the-floor kick under analogue synth textures, with white noise sweeps adding air and movement. The major-leaning key keeps it curious and conversational rather than threatening, matching the title's back-and-forth idea.
Sustained pads and a low drone hold a neutral, weightless base while simple piano figures and soft strings drift over a light pulse. The most detached and observational cue on the set — calm but with a searching, investigative edge rather than warmth, making it useful under narration about space, science or the unknown.