109 cues
The longest and most sacred-leaning cue here: F major hybrid trailer score at 120bpm where organ joins strings, brass, choir, trailer drums and impacts. Over 3:07 the writing has room for a slow ascent from ominous low end to a soaring, near-liturgical triumphant climax.
134 BPM in C minor with choir added to the brass, strings, piano and heavy trailer drums, giving it a raised, near-religious lift in the back half. Aggressive and dangerous early, then soaring and triumphant, suited to end-of-trailer climax cutting.
73 BPM in A minor, a slow ominous build across 2:49 whose low-to-high title implies a wide dynamic sweep from drone and sparse percussion up to massive drums and impact. Suits footage that starts in bleak stillness and climbs to a reveal.
The slowest and longest piece here at 60bpm in G minor and 3:26, opening spacious with piano and strings before brass, choir and trailer percussion lift it into a soaring, victorious back-end. The unhurried tempo and length give it the widest dynamic span on the album, useful for a full emotional arc from bleak to exultant.
A 100bpm C minor orchestral hybrid with a technological slant to its title — strings and brass cut with synth layers, trailer drums and signature design over 2:27. Works for particle-accelerator, laboratory and machine-scale sci-fi imagery building to a soaring resolve.
The fastest and longest cue here — 140bpm and 1:47 in C — with vocal samples and FX layered over braams, drones, ramps and stomping trailer percussion. The extra length allows a fuller multi-stage trailer structure, and the major-key centre gives it a more heroic, less oppressive cast than the D and G minor tracks.
A half-time 80bpm hybrid trailer cue in A minor that pairs exposed piano figures with heavy brass and trailer drum hits, moving from ominous suspense into a broad, triumphant final push. At 2:39 it reads as a three-act trailer edit, dark set-up then explosive payoff, with enough sports-promo weight for stadium footage.
The album's title cue: 110bpm hybrid orchestral heroism in D minor, built from massed brass, driving string ostinati, braams and trailer drums, with violin and choir lifting the final push. Just under two minutes, it climbs from a stated theme to a triumphant, fully resolved payoff.
The album's fastest and darkest cue: 140bpm in D minor, hybrid trailer orchestra with pounding percussion, low brass and synth-driven risers building through repeated impacts to a triumphant final act. Tension and heroism are held together, so it works for an antagonist reveal that flips into the hero's answer. At 2:39 it is one of the longer cuts, giving room for a three-beat trailer structure.
Slow-rolling 80 BPM trap in E flat minor: half-time beat, sub bass, chopped vocal samples and processed synth textures with a menacing, sexy swagger. The tension holds more than it releases, making it good for a slow-motion entrance or villain reveal rather than a chase payoff.
The album's title cue: C minor hybrid trailer score built on analogue synth layers, cello and heavy brass braams with choir lifting the final push. Moves from ominous stillness to an explosive heroic-villain climax, the widest emotional swing on the record at 3:34.
A fast 138 BPM E minor cue whose backward-looking title lends the ominous piano and braam layers an elegiac tint before brass, strings, drums and choir take over. Short at 2:16, it builds directly to a grand, triumphant close with little idling.
90 BPM in E-flat minor and a tight 2:37, combining ticking pulse figures with string arpeggios, drone and heavy drum hits for a martial, ancient-conflict feel. Suits naval history, strategy and any sequence where alliances are forming under threat.
Driving 110 BPM electro in C# minor built on a four-on-the-floor kick, distorted synth riffing, running arpeggios and punchy trailer drums. Swaggering and forward-moving across its two-and-a-half minutes, with the constant escalation typical of a modern action trailer cut. Suits street racing footage, chase sequences and high-gloss automotive spots.
140bpm C minor hybrid trailer piece that leans victorious rather than sinister — sweeping orchestral lines over driving percussion and big synth low end, escalating to a bombastic, resolved finish. The apocalyptic title suits disaster-scale visuals while the mood stays proud and forward-charging. Compact at 2:29 for a standard trailer cutdown.
A compact 100bpm C minor hybrid trailer build that pairs piano figures and driving strings with orchestral drums, brass and synth layers. At under two minutes it works as a tight two-act trailer cut, moving from unsettled motion to a full percussive hit.
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.
A slow 75bpm E minor trailer build where haunting female vocal and choir float over drones, sub bass and sound design before braams, rises and orchestral drums ramp to a heroic brass payoff. The tempo is slow but the weight is heavy, so it suits scale rather than speed.
Driving 120bpm hybrid post-rock in D minor built on electric guitar, strings and brass over orchestral drums, with a synth siren adding urgency beneath the rhythm. Dark and tense in the first half, it escalates to a triumphant, heroic back end inside just over two minutes.
Faster and more percussive than its neighbours at 90bpm in F# minor, with trailer drums and male vocal textures over analogue synth, cello and braam hits. Haunting and mysterious in the opening, then driving into action-weighted impacts.
Vigilante-flavoured hybrid percussion in C minor at 115 BPM, aggressive and blunt with siren layers riding over the hits. At 1:43 it is one of the tighter builds here, moving quickly from a stop-start opening into a heavy, chaotic final section.
The fastest cue on the set at 122 BPM in D minor, pairing live strings and brass with synth layers, orchestral drums, piano and choir for a winged, airborne charge. At 2:41 it has room to move from an ominous D minor opening into a broad triumphant final statement.
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.
The fastest cue on the set: a 125bpm F-key hybrid trailer build driven by a hard arpeggiated synth line, impact hits and sound design risers. Villain-facing and pounding across its 2:24, with enough runway for a full trailer three-act build to a final hit.
A major-key hybrid trailer cue at 100bpm that pairs synth arpeggios and electric guitar with strings, brass and orchestral drums, building from a bright pulse into a heroic back-end. C major keeps the tone clean and forward-driving rather than grim, suiting a modern-hero reveal.
Neoclassical hybrid trailer cue in E minor that opens moody and mysterious on strings and violin before orchestral drums push it into a frantic, tempo-shifted final stretch. At just over two minutes it has room for a full three-act trailer build, ending on a hard futuristic crescendo.
The title cue, slower at 109 BPM and tagged emotional and sad alongside the aggression: piano lines sit inside the distorted synths, choir and orchestral brass, so the darkness has a tragic edge before the drums take over. Good for a flawed or grieving hero being introduced, then the reveal of the full-scale conflict.
At 125bpm in D minor this is one of the album's fastest cuts, driving triplet figures and tom patterns under distorted guitar, feedback and growling synth drones. Nearly three minutes gives room for multiple ramps and a big build into a hard trailer payoff.
A 120bpm hybrid trailer percussion cue in F#m built on organic drums, distorted 808 bass and muted guitar pluck chugs, with risers and impacts marking each escalation. At 1:49 it moves briskly from pulsing low-end menace to an aggressive percussive peak, suiting graveyard or occult horror imagery.
A 103bpm B flat minor trailer cue built from arpeggiated synth figures, 60-piece live strings, brass and pounding orchestral drums, with choir and piano thickening the back half. The title's vengeful tone reads dark and unforgiving early before the final act turns triumphant, and at 2:21 it's the tightest of the album's mid-tempo builds.
The longest and fastest of the hip hop/trap cues at 152 BPM in B minor, combining a driving beat, dark synths and vocal FX over nearly three minutes. The extra length allows a full build-and-drop arc for a sustained chase or fight sequence.
A drums-forward piece at 90 BPM in D minor, leaning on huge distorted percussion, bass guitar, drone and riser sweeps rather than melody. Under two minutes and largely textural, it makes a clean, hard-hitting rhythmic bed for chase footage or a percussive trailer back-end.
A 110bpm E minor trailer cue built on full strings, brass, orchestral drums and choir, with piano threading a stated theme through the darkness. At 2:45 it is the longest of the fast cues, leaving room for an ominous opening, a mid-point lift and a triumphant final hit. Suits a superhero rescue sequence, a last-act rally or a redemption-themed teaser.
The only major-key cue at 135bpm in G, combining synth and arpeggio motion with piano, cello, strings, choir and layered drums for a heartfelt, determined climb. Its title and steady drive suit perseverance-against-odds storytelling that lands on a clear win.
The most overtly tribal cue here: 100bpm in C, driven by shouted "hey" group chants, breath percussion and big drums under synth drones and risers. Nearly two minutes of war-party momentum for chase, hunt or ritual-combat footage.
The shortest and most compact smasher here — 120bpm in E minor, cut tight at 1:36 for a fast trailer edit. Cello and driving strings carry the low-end drive under brass and trailer percussion, with female vocals adding a soaring human line over the final hits; the sports mood tag suits broadcast opens as much as film.
A psychological-thriller lean: 95bpm D minor with vocal samples and processed FX over cello, brass braams and trailer drums. Haunting and unnerving in the verses, breaking into explosive percussive impacts — good for hacking, surveillance and paranoia footage.
A half-tempo 90bpm approach in D minor, with drones, brass growls and string rises given more room between hits than the faster cues. The slower pulse reads as cautious approach and observation rather than pursuit, fitting probe footage, orbital imagery or a mission briefing under narration.
An urgent B minor adventure cue at 120bpm built on running string arpeggios, stacked brass and choir over driving percussion, with a synth underlay adding modern trailer weight. Over nearly three minutes it grows from a small clockwork figure into a heroic, wide-screen finish, with a slightly wilder, more mischievous edge than its neighbours.
At 110bpm in Gm this is one of the album's ethnic-leaning cues, with dumbek hand percussion layered under trailer drums, distorted 808 bass and synth risers. Over two minutes it holds a pulsing, ominous groove and drives into hard impacts, fitting desert operations, smuggling routes or crime-drama surveillance.
Opening statement of the album's method: a synth drone floor with arpeggiated sequences under sustained strings and brass, ramping to a full orchestral-drum climax across three minutes. Wide-eyed and triumphant rather than dark, with the long runway a space or science trailer needs.
At 98 BPM in D minor this is the heavier, more mechanical stomp on the album — slower kick pulse, thick synth riffs and arpeggios over hard trailer percussion. The lower tempo gives each hit more weight, reading as machinery and armoured scale rather than speed. Good for mech and robotics reveals, superhero suit-up beats and tech hardware launches.
The longest cue here, a 110bpm E minor piece with piano, strings, orchestral drums and brass punctuated by designed SFX risers and impacts. Nearly three minutes allows a slow ominous opening to escalate through several stages into a heavy final statement.
The fastest cue here at 160bpm in E minor, driving piano, strings and choir against orchestral drums, hits and percussion for an explosive, melodic battle theme. The arc is straight uplift: mysterious opening figure into a full brass-and-choir climax.
The longest cue here, a 110bpm D minor hybrid trailer piece with room to move from intimate piano and low drones into massed brass, choir and impacts. Its title suggests a return-to-the-fight beat, a reluctant hero suiting up again.
Fast 144 BPM hybrid electro hip hop in E minor built on hard beats, aggressive synths, orchestral drums and shouted male vocal hooks. Swaggering, confrontational drive suited to a superhero trailer's second half, with sound design hits punctuating cuts.
The slowest and darkest cue here at 70bpm in G minor, built on drone, low strings, choir and sparse brass swells rather than melody, holding psychological-thriller tension. Its 2:48 length and unresolved, anticipatory character suit teaser cutdowns and interrogation or reveal sequences.
A slower 85bpm neoclassical hybrid cue that opens with intimate piano and strings before brass and orchestral drums take over for a soaring, triumphant finish. The Cm-to-Dm movement noted in the title gives it a lift into the final section, making it useful where a story needs to turn hopeful.
Shares the 125bpm drive of the album's fastest material but adds brass to the arpeggiated synth core and is tagged emotional as well as dark, giving it more weight and heroic lift. At 2:39 it is the longest of the fast cues, suited to a trailer that needs a loss-then-rally arc.
Half-time 90 BPM trailer percussion in D minor built on distorted synth growls, feedback and drone, with risers and ramps feeding huge drum hits. At just over two minutes it works as a compact, menacing action bed for a final trailer act.
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.
A short, blunt percussive trailer hit at 96bpm built from huge drums, distorted textures and a drone bed, with rises and ramps pushing to the cut point. At just over a minute it works as a compact one-block promo rather than a full three-act trailer.
At 115 BPM in B flat minor and three minutes long, this is the most spacious cue on the set: pounding beat, wide synths, sound design and vocal FX with room to develop. The mid tempo and length suit a longer stakes-raising sequence or a documentary-style build toward a decision.
A dark, Blade Runner-flavoured 130bpm E minor cue built from drones, synths, sub and sound design with piano fragments, escalating through braams and rises into pounding orchestral drums. Coldest and most futuristic track here, more dread than triumph.
A 115bpm Em percussive trailer bed pairing big organic drums with plucked guitar chugs and grinding 808 sub-bass. Slightly more restrained in tempo than its neighbours, its 1:55 arc is a steady tightening of tension through rises into blunt impacts — good for heist planning or a slow-burn thriller reveal.
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.
Half-time 90 BPM cue in D minor that swaps vocal chops for aggressive brass over a four-on-the-floor kick and dark synths. The brass gives it more orchestral-hybrid weight than its neighbours, fitting a bio-threat or military infiltration sequence.
C minor hybrid trailer score at 113bpm that leans further into the sci-fi side of the album, pairing synth arpeggios and sound design with live strings, brass and choir. At 2:49 it is one of the longer cuts here, leaving room for a slow-burn first act before the drums and low brass take the back-end.
The fastest cue here at 126bpm in C#m, driving guitar pluck chugs against trailer drums and saturated 808 bass. Its 1:54 run stays urgent and forward-leaning, with rises and impacts punctuating the pulse — a fit for chase cutdowns, pursuit sequences and aggressive sports promos.
Short, hard-hitting 140 BPM electro cue in F minor driven by a repeating synth riff, pounding beat and vocal chops. Under two minutes and relentlessly forward-leaning, it works as a compact trailer cut-down where the riff carries the whole thing.
The shortest and most concentrated hit on the album at 1:53, 110 BPM in C minor, with 4/4 kick, aggressive synth riffs and arpeggios driving straight into monster-scale trailer percussion. Creature-movie energy: huge, snarling and over quickly. Ideal for kaiju or monster footage, short-form action promos and social cutdowns.
The album's title cue: a mid-tempo 90 BPM hybrid trailer build in A minor where hammered percussion and low braams give way to soaring brass, full choir and a wordless female vocal line over sweeping strings. At just over three minutes it has room for a two-stage build and a triumphant final statement, and it is the least ominous cue here — heroic rather than menacing.
At 122bpm this is the fastest piece here, pairing guitar and strings with brass and orchestral percussion in C minor for a magical, wondrous kind of momentum rather than pure menace. The arc opens epic and keeps climbing to a soaring triumphant close.
The slowest and heaviest cue on the album at 75bpm in C minor, built on braams, low brass, sustained strings, orchestral drums and sound design rather than melody. Its funereal pace and lack of piano make it the most menacing bed here, and the sparse texture leaves room over the top.
A 99 BPM G minor tension-and-action hybrid where ticking clock elements and siren textures sit against pounding trailer drums and dark synths. Emphasis is on urgency and dwindling time rather than swagger, the most suspense-weighted piece here. Works for bomb-disposal and evacuation scenes, investigative documentary stings and countdown promos.
A fast 130bpm E flat minor apocalypse cue distinguished by ticking clock sounds and bells against braams, strings and orchestral drums. The countdown motif gives it a literal running-out-of-time feel that escalates to a hard percussive finish.
Slow 84 BPM electro in D minor with a heavy half-time beat, glitch-leaning sound design and fragmented vocal samples. Broken and unsettled in character, it suits fractured memory footage, a system failure or an anti-hero's low point before the turn.
At 130bpm in D minor this is a driving, intense action cue with heavy hybrid percussion, brass stabs and rising electronic texture across its 2:50 — the longest track here, allowing a slower build before the explosive last third. Reads as a threshold-crossing or portal moment: dark setup, heroic payoff.
The fastest of the mid-tempo group at 140bpm and set in bright D major, this one pairs piano and arpeggiated strings with brass, choir and synth for a sprinting, wondrous chase feel. Its short 2:20 shape means the escalation to the big brass-and-choir payoff arrives quickly, suiting hard-cut sci-fi and discovery montages.
At 65bpm in C sharp this is the calmest, most documentary-leaning piece on the album, opening with piano, flute and strings before choir, braams and orchestral drums swell into a soaring finish. Emotional and wide rather than tense, with an almost pastoral first half.
The shortest cue on the album at just over two minutes, in bright D major with a pulsing synth undercurrent pushing piano, strings and brass forward at 100bpm. Compact and efficient, it moves from moody restraint into a full triumphant orchestral-drum back end without wasting a bar.
Darker action cue at 110 BPM in E minor, pushing synth pulses and trailer drums under siren-like sound design for a raid-in-progress feel. The shortest kind of build-and-hit structure at 2:08, haunting and mechanical rather than heroic. Fits tactical operation sequences, military thrillers and countdown-driven news or documentary segments.
The album's longest and most patient cue: a slow-build orchestral trailer piece that grows from sustained strings into brass, choir and impact-driven percussion. The arc is inspirational rather than combative, ending on a broad emotional back end. Suits legacy brand films, sports documentary closers and fantasy trailers that need a full three-minute rise.
Faster and tighter at 120bpm in C minor, with urgent string ostinati, brass stabs, heavy orchestral drums and choir over piano. The title's instability points to a cue that pushes forward rather than settling, ending on impact. Good for disaster footage, collapsing-city VFX or a mid-trailer escalation.
The shortest of the mid-tempo pieces after the closer, 105 BPM in D minor and built without strings — mostly drone, pulsing analogue synth, sound design and huge drums. The lean, percussive design suits sinking-city and deep-dive imagery where dialogue or narration needs air between hits.
G minor at 120 BPM, with no piano in the mix — just live strings, brass, synth, orchestral drums and choir for a heavier, low-end monolithic sound. The 2:30 arc suits colossal antagonists and world-ending stakes, ending in a grandiose victorious hit.
At 2:56 one of the longest cues on the album, running at 119 BPM with a full three-act trailer shape from ominous drone through ramping brass and choir to an all-out drum and distortion finish. The defiant title and extra length make it a natural fit for a complete trailer cut rather than a short teaser.
A tighter 100bpm cue in E built on a repeating synth riff over arpeggios, hits and sound design, tense and stalking rather than all-out. Its economical 2:00 length makes it a clean fit for a teaser or an infiltration sequence that ends on a stinger.
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.
The most intimate opening on the record — piano and solo cello over a low drone before synth arpeggios and strings pull it into a ramped, elegant climax. At 2:38 it moves quickly from tender to epic, suiting a romantic reveal or a graceful hero-turning-point cut.
The fastest and most combative cue on the record, driving at 130bpm in C sharp minor with relentless orchestral drums, staccato live strings, brass stabs and aggressive synth arpeggios. Action-tagged and futuristic, it suits sustained fight or chase footage rather than a single slow reveal.
The fastest of the arpeggio-driven cues at 160 BPM in C minor, with clock ticks, analogue synth sequences, breath and scream vocal effects and big drums stacked into a frantic, predatory drive. Its Blade Runner-tinged sound design suits a creature reveal or a relentless pursuit through neon-lit or flooded spaces.
Slowest, heaviest groove on the set at 80 BPM in D minor, with pulsing synth, growls and distortion under massive drum hits. Deliberate and stalking rather than fast, good for a predatory reveal or a slow-motion villain entrance.
136 BPM electro in F minor with a machine-like synth riff, four-on-the-floor kick and dense sound design, carrying both tension and swagger. Its futuristic, mechanical pulse makes it a natural fit for robotics, AI and cyber-enhanced action visuals.
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 album's title cue: pulsing analogue synths and drones under strings and piano, driven forward by risers and huge drum hits toward a back-end payoff at 100 BPM in C minor. Its piano gives it the most emotional, human centre of the set, useful when an underwater sequence needs melancholy as well as menace.
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.
A driving 120bpm percussive cue with a dark, ominous drone underneath and layered distortion, running long enough at 1:22 to move through a build and a heavier back-end. The title's conflict connotation suits war and geopolitical subject matter.
The album's fastest, most aggressive cue: 130bpm pulsing synth bass in D minor under growling brass, string rises and hard impacts, with wobbling low-end sound design driving the momentum. Compact at 2:12, it builds through ramps into full trailer-scale intensity, suiting the descent or crash beat of a space thriller.
Fastest track on the record at 129bpm in B minor, with triplet drive, toms, distorted guitar, sound design hits and a sleeker, sexier edge than the album's heavier cuts. Builds hard across two and a quarter minutes to a decisive trailer finish.
The album's title cue: hybrid trailer drums in D minor at 115 BPM cut with siren-like synth wails, built on stop-start hits that collapse into a dense percussive backend. Ominous and industrial rather than heroic, with almost two minutes to escalate from isolated impacts to full mayhem.
The darkest cue here: ominous drone, choir and wordless female vocal over a pulsing bass with arpeggiated synths, brass and orchestral drums driving a huge build. Apocalyptic and tragic in tone, cut for ruined-cities footage, war retrospectives and end-of-world reveals.
At 155 BPM in E minor this is the album's most orchestral tension cue, pairing pulsing analogue synth and drone beds with live cello and string writing, piano and treated vocal effects. Risers push it through nearly three minutes of steadily thickening dread toward a back-end payoff, suiting submerged or aquatic horror imagery.
The most openly emotional cue on the set: E flat minor at 130bpm, with piano and strings carrying a somber, angelic line before brass, choir and percussion lift it into a majestic arrival. At 3:06 it is also the longest, leaving room for a full sad-to-triumphant arc rather than a single hit.
A 120 BPM D minor hybrid trailer cue distinguished by guitar sitting alongside the live strings, brass and choir, giving it a grittier, more modern edge than its neighbours. Short at 2:21, it works as a compact dark-to-heroic build for a missing-person or vanishing-act reveal.
Swashbuckling orchestral action with driving strings, stabbing brass, choir and sound-design hits over pounding orchestral drums. Darker and more mysterious than the heroic cues here, with a battle-ready middle and a big percussive back end. Works for period adventure, pirate and sword-fight sequences.
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.
The slowest and funkiest cue here at 90bpm in G major, riding a swaggering riff, chopped vocal snips and robotic synth textures under heavy trailer hits. Its half-time strut gives slow-motion footage weight while still landing big impacts.
Short, cocky 128bpm cue in C minor built on a funky synth riff, robotic vocal snips and hard trailer drums. At 1:32 it works as a fast tease rather than a full arc — attitude-forward and playful rather than apocalyptic.