44 cues
A 72bpm Bm bed layering an arpeggio, pads and strings over trap drums, sub bass and drone — the widest instrumentation on the record at a compact 2:24. The circling arpeggio suggests surveillance and waiting rather than action.
The heaviest cue on the album: 140bpm A minor with a 4/4 kick, distortion and electric guitar driving under cello, strings and drone, tagged haunting and horror. Built for a chase, a raid or the final act of a thriller. Relentless and aggressive across 2:45.
The longest cue here at 4:24, 115bpm in Dm, with 808 sub-weight, distorted vocal effects, drones and trailer drums layered over live guitar and bass. The extended runtime allows multiple escalation stages, making it the best choice when a scene needs to grow over minutes rather than seconds.
The title cue's companion piece, at 82 BPM in D with drone, pad, strings, beat and pulses under processed voices. Its unusually bright key against the dark textures gives it an uncanny hollowness — good for a void or dissociation sequence.
The darkest cue on the set: 110bpm in C minor with distortion, wordless background vocals, electric guitar, piano, strings and percussion over a drone. Tagged dark and full tension rather than light, it suits disturbing subject matter and psychological unease.
The slowest and longest cue here at 68bpm in G# minor, and the only one adding piano and strings to the drones, pads and sound design. That acoustic colour lends a mournful, exploratory quality suited to derelict buildings, archive photographs and reflective narration. Spacious and largely static, it holds a mood rather than resolving it.
100bpm in C minor, with drone, synth, sparse piano and a patient beat — a methodical evidence-gathering feel rather than a chase. The mid-length runtime and unresolved close make it easy to loop under a sequence of clues or archive stills.
A 120bpm trap beat in a minor mode, built on brooding synth lines over heavy 808 low end, moving at a slow, swaggering pace rather than a frantic one. The long runtime holds a steady, unhurried groove with room for rap vocals or narration on top. Suits streetwear content, late-night city driving footage and defiant character introductions.
The album's fastest-driving male-vocal cue at 125 BPM in B, pairing an electronic beat with live cello, piano and orchestral drums under a lead vocal. Tags point to the darkest emotional territory here — loss, despair, suicide — with a small intimate opening giving way to choir and full trailer percussion. Suits a bleak-but-cathartic final act rather than an uplift.
A darker 114bpm A minor cue where a synth arpeggio and drone sit on top of a light programmed beat, adding tension and forward drive to the album's ambient palette. Good for investigative sequences that need to feel like they are closing in.
The fastest and most aggressive cue on the set: a 110 BPM distorted beat under smeared synth pads, processed vocal fragments and electronic FX in E. Industrial texture with a driving pulse rather than a melody, suited to chase, pursuit or hard-cut action footage.
The album's coldest opening statement: a plain D minor piano figure over a low drone, with strings and a restrained beat holding the pulse rather than driving it. It sits in unresolved, investigative territory throughout, better suited to atmosphere than payoff.
Drops to 70bpm in B minor for one of the album's two slowest cues, letting drone and sparse piano dominate over a nearly static beat. The backward-looking title fits flashbacks, faded photographs and reflective narration about how things were before the crime.
At 100 BPM this is the most relaxed of the trip hop cues, with piano and strings over a laid-back beat, synth pads and vocal samples in C minor. The mood is chilled and quietly inspiring rather than dark, making it a steady foundation cue. Good for step-by-step, process-driven visuals.
The fastest and one of the shortest cues here at 150bpm and 2:33, with edgy synth lines over a hard trap kit in D minor. Its brevity and pace make it a punchy, unsettling insert rather than a long groove bed. Suits horror-tinged rap visuals, Halloween content and tense chase edits.
A minor-key trip-hop bed built on a running synth arpeggio, with cello and strings adding a wistful line over programmed drums and bass at a mid 106bpm. Reflective rather than triumphant, suited to slow-motion imagery that wants a slight melancholy edge.
The fastest of the instrumental beds at 107bpm in C minor, pairing an insistent trip hop beat with cold pads and drone for a sense of forward motion and pursuit. Investigative and unsettled rather than uplifting, it leans toward crime drama and surveillance footage.
At 71 BPM in A this is the album's slowest cue, a male-vocal ballad with piano, synth, guitar and a marching 4/4 pulse that grows into choir and orchestral drums. No cello listed, so the weight comes from strings and percussion rather than solo bowing. Ideal where a memory or trauma refuses to fade.
At 105 BPM this is one of the more propulsive cues, combining piano, string textures and arpeggiated synth over a steady electronic beat. Searching, forward-leaning and melancholy — good for an investigation gathering pace or a lone figure covering ground.
The darkest cue in the collection, an 89bpm A♭ minor bed built on flute, strings, pads and beat with clear tension and anticipation in its DNA. It withholds resolution, holding a scene on edge rather than releasing it. Use for approaching-threat, surveillance or an ominous desert crossing.
A mid-tempo chillstep underscore at 121 BPM in a bright but unsettled B major, pairing a soft piano figure with processed beats and atmospheric FX. The major-key lift keeps it hopeful under the murk, suiting sequences where a character starts to see clearly after a long stretch of confusion.
The album's most aggressive track: a 191bpm D minor electronic cue driven by a fast synth arpeggio and beat, built for tension rather than melody. At 2:18 it is the shortest and most editable, aimed squarely at investigative and crime drama sequences.
A 136bpm trap cut sitting in a B flat centre, with 808 sub-bass doing the heavy lifting under a chilled, hazy groove. The cannabis-referencing title matches the album's smoky, mysterious tone. Suits nightlife b-roll, dispensary and lifestyle branding, and laid-back party scenes.
The longest of the standard-length pieces at 4:33, giving a slow creeping build room to develop through dark, gradually thickening layers of tension. Designed to make the viewer uncomfortable across a sustained sequence rather than land a single scare.
105bpm in C minor with no piano — drone, synth and beat carry a mid-tempo forward tick that reads as time running out. The title's sense of anticipation makes it a fit for the build before a raid, arrest or confrontation.
A mid-tempo electronic underscore at 100 BPM in B flat, built from a steady programmed beat, low bass, drone and sparse piano with guitar textures colouring the edges. It stays dark and watchful rather than climactic, holding one investigative mood across its four-and-a-half minutes. Suits nocturnal surveillance footage, cold-case reconstruction and slow drives through a city at night.
144 BPM in E minor, a nocturnal city pulse of arpeggiated synth, piano and insistent electronic beat with atmospheric FX washes. Cut for night-drive and skyline time-lapse, or a high-stakes financial-drama sequence where the pressure never lets up.
Fast rolling hi-hats and cymbal work define this 140bpm D minor beat, giving it the busiest top end on the album over a dark, heavy foundation. Authoritative and confident in line with its title, and long enough to carry a full verse structure. Works for law-enforcement documentary, drill-adjacent rap vocals and high-energy sport cutdowns.
The fastest of the dark cues here at 155 BPM in F minor, driving hard on beat, bass and percussion with drone and piano fragments underneath. Tension is relentless and unresolved, built for pursuit rather than reflection. Works for raid sequences, escalating evidence reveals and countdown-style edits.
Haunting 92bpm trip-hop in F minor where 808 sub-bass sits under Rhodes, Hammond, piano and strings. Darker and heavier low-end than its neighbours, with an intimate, claustrophobic feel that matches the title's nine-to-five weariness. Works for urban routine montages and quietly bleak character beats.
The darkest and longest cue here: piano figures and strings over a soft 90 BPM beat in C minor, with treated vocal samples and flute adding unease rather than comfort. Tension and suspense sit inside an otherwise ambient groove, making it read as investigative rather than meditative. Built for environmental crime documentary, extinction or climate segments, and reality-show interview beds that need dread under the voice.