40 cues
Shares the G# minor centre with "Gotta Move On" but is faster-feeling in shape and half the length at 2:21, and swaps piano for electric guitar against the driving kick and synth bass. Somber and sexy at once, it works as a compact, edit-ready cut for late-night or after-the-breakup footage.
The most upbeat vocal cue here at 118 BPM in major-key G, an electropop production with lead and background female vocals, driving beat and bass, synths, piano and guitar plus trailer drum hits. Bittersweet lyrically implied heartache set against a bright, club-leaning pulse, so it plays as resilient rather than mournful. Good for summer coming-of-age montages, teen drama and lifestyle brand spots.
The longest track on the EP at 3:09, a 100bpm G# minor breakup song where piano chords sit against the 4/4 kick and synth bass under a male vocal. Its extra length gives room for a full verse-chorus arc, moving from moody resignation toward a decisive, forward-facing chorus.
Slow-burn electropop at 90 BPM in D, with a breathy lead female vocal over programmed beat, sub bass, synth pads and bell figures, with trailer drums adding cinematic weight to the bigger sections. Warm and seductive rather than sad — an unhurried, sensual groove that stays comfortable and resolves. Suits fashion film, late-night lifestyle and slow-motion romance footage.
The slowest and most laid-back cue here at 100bpm, and the only one in a major key (Eb), giving a warmer, sunnier feel-good bounce than its minor-key neighbours. Mid-tempo beat, funky bass, synth pads and rhythm guitar under sampled vocal ad-libs; 3:21 of easy summer swagger.
The album's title track and its most club-facing moment: 111bpm in B flat minor with pulsing arpeggios, punchy vintage drums and a male vocal hook, leaning toward EDM-sized synthwave. Emotional but driving, suited to relationship storylines played out under neon.
Guitar-led electro-pop at a walking 100bpm, set in D minor for the most bruised, regretful colour on the album. Vocal samples and a soft beat keep it moving while the minor key suits break-up scenes, late-night driving and looking-back narration.
The EP's slowest cue at 78bpm, guitar-free and built from beat, bass and synth in E flat, with a moody, somber undertow beneath the romantic pop sheen. Emotional and half-time, suited to a reflective beat before the story resolves.
Driving 127bpm electro-pop in C minor with a lead female vocal over synths, punchy beat and a prominent bass line — seductive and energetic despite the breakup subject. The minor key gives the club energy an edge, suiting a night-out sequence or a confident walk-away moment. Fashion runway, dance floor and reality-TV drama placements.
At 110bpm in C# minor, this one swaps arpeggios for electric guitar against synth bass and retro drums, with a male vocal lead giving it a pop-song shape. Brighter and more playful than the album's sci-fi instrumentals despite the minor key, and the shortest of the vocal cuts at 2:48.
106bpm in A flat, with bell tones sparkling above a synth bed, sub bass and crisp claps, plus wordless female vocal samples for air. The bell layer gives it a slightly cooler, more nocturnal shimmer than its beach-oriented neighbours.
Upbeat funky synthpop at 115bpm in C minor, built on a punchy programmed beat, French-electro style bass, glossy synths and clipped electric guitar, with chopped vocal samples and oohs/ahhs carrying the hook. Minor key keeps it sultry rather than sugary, and at 3:12 it plays as a confident lifestyle groove that lands cleanly.
A 120bpm house-pop cue in A minor built on four-to-the-floor beat, funky bass and synth stabs, with male and female vocal lines and processed vocal styling carrying the hook. The minor key gives it a slightly wistful edge under the party energy, making it useful where celebration and sentiment sit together.
A slow-burning 93bpm synthwave cut in bright F# major, built on vintage drum machine, round analogue bass and arpeggiated synth layers under a male vocal lead. The major key and unhurried tempo give it a warm, romantic retro sheen rather than a menacing one, and at just over four minutes it has room to open out.
Feel-good 120bpm electro-pop in B flat, guitar-and-synth led over a driving pop beat, with a nostalgic summer-romance tilt in the title. Cheerful and anthemic, close in energy to the EP's other uptempo cuts but slightly warmer and longer at 2:57.
The shortest cue on the album at just under four minutes, a 105bpm groove in F built from synth pads, deep bass, claps and airy female vocal samples with no lead instrument competing for the centre. Sleek and easy to cut to camera-work.
128bpm A minor dance-pop with trance leanings — female lead vocal, four-on-the-floor beat, bright synths and guitar accents. Happy, holiday-coded and built for sun-and-nightlife footage: pool parties, beach clubs, summer travel. The fastest cue on the set alongside the Faithful remix.
The shortest and most stripped cue here — no piano or guitar listed, just synth pads, vocal samples and a relaxed 106bpm beat in E major. Its confident, upbeat title and lean arrangement make it useful as a bed under narration or a quick 2:43 cutdown.
At 136bpm this is the fastest of the upbeat pop cuts, mixing hip hop drum programming with claps, glitched vocal chops and a bright bassline in D sharp. Youthful and hyperactive, it fits fast-cut footage of teenagers, skateparks and phone-shot summer chaos.
105bpm A minor breakup song with male lead vocal, guitar, violin and strings layered into a future bass framework. Heartfelt and introspective, tilting toward the decision-to-leave side of a relationship arc rather than the grief side. Suits relationship drama, documentary interview beds and emotional ad storytelling.
Companion to the album's other 128 BPM anthems but pitched in G#, this one pairs a driving 4/4 kick with stuttered vocal-glitch phrases and a punchy synth bass. Motivational and forward-leaning, the longest of the uptempo group at 3:22.
Warm E-major tropical house at 111 BPM built on soft synth chords, a light four-on-the-floor beat and flamenco guitar figures that give it a Mediterranean edge. Over four and a half minutes it stays sunny and romantic rather than peaking hard, making it a long-form bed for holiday footage.
The fastest cue on the set: a 160bpm chillstep-pop drive in bright E major, with piano figures, arpeggiated synth and chopped vocal samples over a hard-edged beat. The 'Come Back' title and major key push it toward reunion and reconciliation footage, and the energy stays high enough for an end-of-episode montage.
At 116bpm this is the fastest and shortest cut on the set, a tight 3:08 of driving beat, funky bass, bright synths and rhythm guitar with sampled oohs and ahhs. C minor keeps an edge under the warm, sun-soaked title, making it the best pick for high-energy cutaways and quick montages.
The longest of the male-vocal ballads at 3:26, 105bpm in C minor, with synths, violin and strings under a heartfelt lead. Romantic and introspective with room across its length for a full emotional arc rather than a quick montage hit. Good for a closing scene, a love-story trailer or a long-form brand film.
The stripped counterpart at the same 116 BPM and B minor, relying on synth pads, glitch textures and vocal samples with no guitar or flute lead. Cleaner and more open in the midrange, which makes it the better choice when dialogue or narration sits on top.
The most optimistic of the electric-guitar cuts here, adding organ underneath lap steel and a steady rhythm section for a brighter, more inspiring lift. At 2:19 it has room to grow, suiting sequences that move from small beginnings toward a payoff.
115bpm F# urban-pop with female lead vocal, guitar, horn hits and future bass synths — the sunniest, most feel-good cue here. Its title and club-leaning groove make it obvious for beach city footage, poolside lifestyle and warm-weather brand spots. Compact at 2:30.
The slowest-moving track here at 93bpm in B minor, with chopped glitch vocals, claps, warm bass and synth layers giving it a floating, half-time feel. Romantic and airy rather than driving, it suits slow-motion imagery and reflective passages between bigger moments.