40 cues
A tight 2:12 cut in C minor at 128 BPM built on ticking clock figures, synth arpeggios and breath and scream vocal effects over a drone floor, with big drums arriving to drive the second half. The shortest cue here, it works as a compact, quick-turn tension-to-impact block for a chase or breakout beat.
Hip hop-leaning trailer percussion at 89 BPM in C minor, using vocal samples, growls and distorted drones over huge drums and hits. The shortest cue on the album at 1:56, mechanical and swaggering, built for tech and cyber imagery.
The heaviest cue at 122bpm in D, with processed male vocals and breath over pulsing synths, drones and big drum hits. Its creature-and-crypt character and two-minute length fit boss reveals, monster footage and epic fantasy or sci-fi game trailers.
Signal-driven sound design: braams, beeps and synth pulses over impacts at 100bpm in C, with less melodic riff work than its neighbours. The sparser, more textural 1:55 makes it the most voiceover-tolerant cue here, good under narration or on-screen data.
Slowest of the D minor cues at 77bpm and running 2:46, spacious enough for scrapes, deep drones and low brass to sit apart before impacts land. The wide pacing suits methodical technical footage — engineering, launch preparation, systems failing one by one — and leaves clear room for narration.
Fast 135bpm hybrid trailer piece in G, blending heroic strings with drones, ramps and pounding percussion. The 1:44 runtime is a tight two-act build — ominous setup into an intense, impact-heavy payoff for hero-reveal footage.
The album's title cue and its fastest, running at 112bpm in G minor with distorted 808 kicks, feedback textures, rise and ramp transitions and huge trailer drums. Two minutes of escalating futuristic menace with a hard back-end payoff rather than a melodic hook, suited to superhero and psychological-thriller cutting.
Slower 117bpm G minor cue where ominous strings coil over big drums, stabs, drones and risers — more ritualistic and menacing than the album's faster material. Suits temple, ruin and ancient-evil imagery in adventure trailers.
A slow 90bpm trailer sound design piece in G flat built from processed female vocal cries, breath textures and shouted "hey" chants over drones, risers and big drum hits. At 1:41 it works as a trailer intro or a tool-kit of hits and latches, ending in an aggressive back-end.
A sound-design-forward 120bpm cue in Cm with no guitar layer, leaning on huge organic percussion, distorted 808 bass, synth textures and sfx risers. The title's monster-island suggestion matches its primal, cavernous drum weight; useful for creature features, jungle expedition footage and wildlife-under-threat sequences.
The title track, 90 BPM in C minor and the longest cue on the album, adds piano to the signature palette of clock ticks, analogue arpeggios, breath and scream vocal effects, big drums and drone. Its slower pulse and near-three-minute arc allow a genuinely gradual descent from eerie stillness into full percussive combustion.
100bpm in D minor and the longest cue on the album at 2:14, with drone underpinning distorted 808s, feedback and huge trailer drums. The extra length allows a long attacking climb from sparse dread to a full percussive climax.
Fast 140bpm hybrid trailer cue in C minor built from booms, impacts and risers over a low drone, with processed vocal FX adding a human, unsettled edge. No guitars here — the tension comes from sound design and ramps rather than riffs, making it a clean fit for psychological sci-fi cutdowns.
At 3:10 the longest piece on the album, in A minor at 91 BPM, with warped distorted drones, pulsing textures and huge drum impacts. The extra length allows a long unsettling build and multiple hit points, useful for extended sequences rather than short spots.
The shortest cue at 1:30, a slow 80bpm B flat minor piece of drone, brass and pulsing bass with scrape textures and impacts. Named for the nearest star, it plays as distant, isolated deep-space atmosphere — a brief establishing bed or an end-card sting.
137bpm F# minor hybrid built on big drums and hard synth stabs rather than guitar or strings, punctuated by booms and rising ramps. Percussive and rhythmic, it suits sharp-cut sequences that need obvious hit points for edits.
A 120bpm D-key ritual driver with female vocal chants, breath rhythms, "hey" shouts and big drums layered over synth drone and risers. Its two-minute fire-dance intensity suits alien-invasion, cult ceremony or superhero transformation footage.
The longest of the 100 BPM D minor tension cues at 2:49, built from clock pulses, analogue arpeggios, breath and scream sound design and big drums over a sustained drone, with no clean vocal layer to compete with dialogue. The extra length gives room for a slow, funereal build into a heavy back-end.
An A minor cue at 78bpm, 2:20, its title pointing at cascading orbital debris; scraped metal textures, wobbling bass and brass swells suggest accumulating danger. It stays in slow-burn territory rather than resolving into action, good for a threat that is quietly getting worse.
At 78bpm in E this is the slowest and shortest of the vocal-led pieces, a menacing crawl of female vocal effects, breath and chanted shouts over drone and drum hits. The revenge-narrative title and 1:32 length make it a tight trailer intro or single-scene stinger.
140bpm D minor cue that uses a heartbeat pulse under drone, pad, strings and synth before distortion, drums and a big hit take over. The physiological pulse makes it an obvious fit for capture, interrogation or countdown scenes.
Distorted guitar layered over pounding trailer drums and a low drone, driving at 90 BPM in D minor with rising ramps into impacts. The 2:19 length and rock edge suit eruption imagery, disaster footage or a hard-edged motorsport cut.
The title cue: 90bpm in D, pulsing synth drones and breath-based vocal effects building through risers to big drum hits and a hard back-end. At 1:48 it plays as a first-contact arrival — something approaching that shouldn't be.
A 120bpm Em cue that drops the guitar layer in favour of sound design, letting big organic percussion, distorted 808 bass and synth textures carry the tension. Its sparser, more atmospheric approach across 1:58 leaves room for narration, fitting isolation storylines, prison or psychological thriller footage.
The slowest start on the album at 80 BPM in F minor, combining orchestral drums with synth drone for a heavy, dragging menace that then doubles up into a frantic close. Its longer 2:07 runtime gives the tempo escalation the most dramatic contrast here.
Fast and compact at 120bpm in G minor, 1:26 of female vocal cries and chanted shouts driven by big drums, risers and drone. The shortest piece on the album, useful when a cut needs occult menace and a hit ending inside 90 seconds.