44 cues
The album's title cue and its longest at 3:13, moving at 120 BPM in D with solo piano and strings under lead female vocal chants and full choir, escalating into trailer drums and risers. The extra length allows the widest arc here, from somber and reflective to fully triumphant. Good for a feature-length trailer, a season finale montage or an emotional brand epilogue.
The longest and most expansive piece, 4:11 at 130 BPM in G#, giving room for a slow drone-and-pad opening to grow through trailer drums into an explosive orchestral and choral finish. Best where the picture needs genuine scale — space, flight, discovery — and time to get there.
The fastest and most purely orchestral cue on the album — 159 BPM in C major with piano, strings, brass and drums and no synth colouring. It pairs an intimate, reflective opening with a genuinely urgent, soaring push, ideal for city footage cut to motion.
The album's title cue and its fastest, at 135 BPM in G major, driving urgently with brass, strings, choir and trailer drums toward a triumphant close. Three minutes gives room for a full trailer arc with a clear rise into the last act. Good for tech launch films, hero-product spots and inspirational feature trailers.
The slowest cue at 98bpm in C, opening from drone and pad textures with piano, strings and atmospheric vocal samples before percussion and brass raise it. The unhurried tempo leaves the most headroom for narration in its early half.
The most inward-facing cue here: softer, sadder and more intimate, with reflective piano and bells over strings, and trailer drums available for the darker lift. In C minor at 100 BPM it moves from somber introspection toward a hopeful arrival that matches the title's sense of finding something long sought.
Fast and propulsive at 140bpm in F sharp minor, with driving drums, ostinato strings and brass stabs cut through by choir and processed vocal textures. The shortest of the up-tempo cues and the most urgent, minor-key tension resolving into triumph.
The slowest and most tender piece here: 60 BPM in C minor, piano and live strings with wordless female vocals over the top. Somber and reflective at the outset, moving toward an uplifting, soaring close — written for memory, ageing and loss without becoming maudlin. Strong for a final-act farewell or an end-credits reflection.
A slow 70bpm A-flat minor reflection built on strings and piano with woodwind colour and orchestral drums held in reserve, so the pulse stays quiet rather than driving. The mood is introspective and philosophical, opening out toward something soaring by the end. Suits landscape drama, a character alone with a decision, or a documentary chapter opening.
Solo felt piano in A flat minor, moving at a steady 118 with the softened, close-miked attack that muffles the hammers and leaves the room tone audible. The longest cue on the record, it has space to develop from a single repeated figure into a fuller, more hopeful statement, matching its title's sense of an idea taking shape. Suits footage of someone at work alone — sketching, building, writing.
One of only two major-key cues here: G major at 126bpm, piano with violin, viola and cello, warmer and less shadowed than the minor-key material around it. The late-evening title fits domestic night footage, a city winding down, or a gentle resolution after tension. Under three minutes, tidy and easy to place.
Slow 64bpm E minor bed built from analogue synth drones, pads and a patient arpeggio, with cello adding a human, aching line over the electronics. It stays intimate and unresolved across nearly four minutes, more atmosphere than statement.
The longest and slowest track at 62bpm in A minor, spending its three and a half minutes moving from drone, piano and sustained strings to braams, hits and orchestral drums. Haunting, patient and documentary-shaped, with plenty of open space before the escalation.
The slowest cue on the set: piano at 55 BPM in G# minor with violin, strings and harp threading around it, plus a soft synth pad underneath. Somber and noir-tinted, with a thread of hope in the string writing, and short enough at 2:13 to sit under a single scene of quiet desperation.
Two minutes at 124 BPM in F sharp minor, combining Arabic strings, flute, oud and saz with dumbek, orchestral drums and vocal chant into something yearning and moody rather than triumphant. The steady tempo keeps momentum while the minor tonality holds the sense of distance and desire. Suits separation and exile scenes, longing-across-the-desert montages and emotional trailer beds.
The stillest cue on the album: a slow 85 BPM D# minor bed of sustained strings, distant brass, choir and scraped textures over a heartbeat-like pulse, with piano fragments and risers pushing toward an unresolved edge. It stays quiet and watchful rather than building to a hit, leaving plenty of room over dialogue or narration. Suits aerial landscape footage, a frozen crime scene, or the calm before a reveal.
The album's longest slow cue at 65bpm, and unusually in a major key (A flat), which pushes the strings, piano and brass toward hope rather than dread; wordless female vocal and FX add a Nordic ache over the top. Over four minutes it has room to move from bare piano intent to a full, warm swell. Good for loss-and-recovery storytelling and end-of-episode resolution.
135bpm in G with piano, pads, strings, synth and drums but no brass, giving it a cleaner, more electronic lift than its up-tempo neighbours. Its title points to beginnings and the arc is optimistic and gathering across just over three minutes.
At 120bpm in E minor, arpeggios and piano circle under strings and brass in a curious, discovery-minded build that resolves triumphantly. Tagged for science and invention, it is the album's cue for progress and problem-solving rather than romance.
Driving 124bpm E minor hybrid trailer music combining piano, strings and brass with synth and orchestral percussion, tilted dark rather than heroic. Fits medieval or fantasy footage where a kingdom is falling, and holds a steady propulsive pulse across its two and a half minutes.
Full-orchestra trailer cue built from a piano theme that hands off to choir, strings and brass over orchestral drums, climbing to a huge percussive backend. The arc is adventurous and slightly ominous at the start, resolving triumphant and wide. Suits fantasy epic trailers, mountain-crossing footage and historical battle campaigns.
The title cue: felt piano alone in D flat minor at 118, and at 1:48 the most compact statement of the album's idea — beauty found in the noise and imperfection of the instrument itself. Reflective and unhurried rather than sad, with no percussion or strings to compete with dialogue.
The sparsest cue here: 64bpm in C minor with strings, piano, choir, synths and FX and no percussion or brass listed, so it breathes as an atmospheric bed. Tidal, patient and slightly cold, it stays reflective rather than climbing to a peak. Ideal under narration, coastal aerials or a grief scene.
The title cue and the longest track at 4:05, in A flat major at 130bpm with a beat supporting piano and the live string section — the most fully arranged and most openly emotional piece on the album. Its length allows a long build from intimate to cinematic, suiting a closing montage or end-credit sequence. Reads as nostalgic warmth rather than Nordic cold.
The fastest cue here at 145 BPM in C minor, where the piano pulse drives harder while wordless female vocals, duduk, harp and strings float above. Longest-feeling arc of the darker tracks at 2:28, useful when heartbreak needs urgency rather than stillness.
A 160bpm cue in A major, the brighter-keyed sibling to the album's other fast track, with propulsive strings, brass, bells and choir over trailer drums. Hopeful and heraldic, good for homecoming and legacy footage cut at pace.
The title cue and the longest of the mid-tempo pieces at 4:18, 122bpm in Bm, moving from piano and strings into full brass, choir, drums and orchestral percussion. Its extended length allows a genuine journey from wonder to euphoric, romantic release — the album's signature statement.
At a stately 100bpm in G minor, wordless female vocals and chant sit over strings, woodwinds, piano and orchestral drums for a majestic, ethereal build. Slower and more ceremonial than the pop-leaning tracks, useful where a human voice needs to carry the emotion.
C minor felt piano at 110, with a title suggesting something strange, fluid and submerged — the mood here is curious as much as melancholy. Under two minutes, sparse and unadorned, with the muted hammer attack giving each phrase a soft edge.
The most heroic cue here: 120bpm in G minor with choir, woodwinds, brass, strings and synth pulses driving an orchestral build with no piano. Its rising pulse-and-choir arrangement suits triumphant final acts and long-form trailer climaxes across nearly three minutes.
A four-minute F minor orchestral anthem at 110 BPM, built on massed choir, string ostinato, brass and cinematic percussion, with the long runtime allowing a full climb from tragic quiet to full-ensemble climax. The heavy-hearted tone sits between war lament and heroic call to arms, making it the album's most complete standalone theme.
The album's title cue: live orchestral strings, piano and brass in D minor at a walking 100 BPM, romantic and stately rather than mournful. Builds from an intimate piano-and-strings statement to a soaring full-orchestra crest suited to period drama title sequences. Good for post-war English countryside imagery, reunions and sweeping estate establishing shots.
The outlier on the album: slow 82 BPM G minor score for piano, sustained drone and strings with none of the regional instrumentation, giving a somber, meditative and epic stillness across three and a half minutes. It builds emotional weight gradually and leaves wide open space above the drone. Best for reflective documentary passages, memorials, loss and the quiet aftermath of a historical drama.
A yearning A minor piece at 110 BPM with solo cello set against live strings, piano and brass — the fastest of the emotional cues and the most restless. The searching title and forward tempo suit a montage of someone looking for a missing person, letters unanswered, trains and empty rooms. Ends with an orchestral swell rather than a fade.
A moodier mid-tempo piano bed in F# minor at 95 BPM, coloured by cello, violin and a plaintive duduk line over synth texture. The duduk pushes it towards windswept, faraway grief rather than domestic sadness, and the tight 1:51 runtime makes it a clean fit for a short film beat or news package.
At 76bpm in F major this is the most reflective cue, and the only one where synth pads sit alongside the strings and brass instead of piano, giving it a slightly modern, hazy colour. Choir enters late for a warm, nostalgic swell suited to looking back.
The fastest cue at 163bpm and, in A flat major, one of the brighter ones: piano and live strings alone, moving quickly with no percussion to lean on. The romantic title and rapid pulse suit a rushing memory sequence or a montage that races through time. 3:24 with a clear arrival at the end.
At 130 BPM this is the fastest and most driven cue here, an A minor chase built on a pulsing bassline, urgent strings, brass stabs and big drums with choir shading the top. The energy is sustained and forward-moving rather than reflective, ending on tension instead of release. Works for a pursuit, a countdown, or a trailer intro that needs momentum immediately.
Brighter and faster at 117 BPM in B minor, adding synth arpeggios and drone textures under choir, strings and brass for a spacefaring, forward-motion feel. Over 3:15 it moves from airy pulse to a wide, uplifting heroic peak rather than a tragic one.
Shares the album's slow 66bpm G minor tempo and key but drops the tension tag for an emotional, hopeful reading — piano and bells leading into strings, brass and choir. A resilience cue for footage of endurance and quiet defiance.
A 113 BPM A minor cue with drone-based textures under choir, strings, brass and percussion, tilted more toward somber wonder than triumph. Its three minutes suit a threshold moment — arrival somewhere unfamiliar, with weight rather than celebration.
The one cue where electric guitar joins the synth drones and pads, giving a 112bpm G minor bed a warmer, pedal-treated edge. Intimate and a touch wistful, suited to two-hander scenes and human-interest stories.