57 cues
115 BPM in F minor — the only track in that key, which gives it a slightly darker, moodier funk than its siblings while keeping the distorted guitar, bass, synth and shouted female vocals. Loose, cocky cruising energy for weekend road trips, night drives and after-hours lifestyle footage.
The slowest and most patient cue at 82bpm in D minor, using trap 808s, halftime trailer drums, crowd vocals and stadium-scale sound design to build tension before the drop. Its wide 3:47 arc suits a pre-race grid sequence or a slow-motion walk-in before the action starts.
A 110 BPM A minor build with claps, arpeggios, piano and trailer drums, tagged for trailer use and the most action-forward and confident of the group. Risers and SFX imply a staged climb toward a hit, and at 2:13 it is the shortest and tightest cue here. Good for extreme sports edits, athletic apparel spots and short-form trailer beds that need a clean arrival.
The most cinematic cue on the set: 115bpm breakbeat drums in G# minor layered with bass, arpeggiated synths and, unusually here, strings and choir for scale. The added orchestral and vocal layers push it toward a hero-film feel, suiting flagship car campaigns, drone reveals of coastline or skyline, and brand-film climaxes.
The only cue with male vocals, at 120 BPM in E flat, riding drums, bass, electric guitar and electronic synth atmosphere. At just 2:05 it's the shortest and most song-like track here, punchy and positive for a spot that needs a lyric hook.
A minor-key 100bpm rap cue in F#m with brass and horns cutting through the beat, plus male and female vocals, shouts and crowd noise for stadium-scale attitude. Darker and more confrontational than the major-key tracks on the album, it suits competitive footage that needs edge rather than sunshine.
The fastest and brightest cue on the set at 128bpm in D, pairing droning didgeridoo with driving drums, synth and bass plus wordless oo-and-ahh vocal backing. Aggressive, upbeat and promo-shaped, it works as a straight-ahead sports or advertising bed rather than a moody groove.
A 186 BPM metal charge in C minor built on chunky distorted guitar riffs, driving bass and relentless double-kick drums. The competitive, chest-out title suits a champion's entrance or a head-to-head showdown, and the two-and-a-half-minute run gives room for a full build and a hard final hit.
A mid-tempo future bass cue at 108 BPM in G flat minor, built on chopped female vocal samples, sub-heavy bass and synth pads, with brass stabs adding weight to the drops. The 108 BPM pocket gives it a slower, sultrier swagger than the rest of the album, and the near-three-minute runtime leaves room for a full build and payoff. Fits luxury car interiors, high-end fashion films and slow-motion product reveals.
The most heroic cue here: brass stabs over arpeggiated synth, trap beat and vocal FX at 77bpm in A flat, dark but victorious. Its epic, hero-flagged character suits big-name athlete introductions and comic-book reveals over the album's moodier tracks.
Bright F# major stadium rock at 135 BPM, pairing a four-on-the-floor kick with distorted guitar riffs and synth layers over driving bass. The shortest, most advert-ready cue here: a confident, victorious lift built for a fast cut that lands on a logo. Suits youth-skewed lifestyle and sports footage.
Mid-fast indie rock driver at 134bpm in A flat, built on distorted electric guitar riffing, punchy live drums and bass, with room for a lead guitar break. Sunny and triumphant rather than dark — a wide-open surf-morning feel that keeps pushing to a clear finish.
Slow-rolling 71 BPM trap in C built on heavy sub bass, hard programmed beat and stabbing brass-and-synth hits, with the swagger of a title that suggests punishment and grind. At 2:19 it's cut for a short, aggressive ad slot rather than a long build, staying dark and confident throughout.
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.
At 75 BPM in Em this is the longest and most brooding of the slow struts, with pulsing distorted guitar, bass, organ colour, claps and wordless vocal ahhs. Its 2:39 length and aggressive edge suit a longer build toward a competitive reveal.
A 132bpm chillstep/downtempo piece in A flat with a halftime-feeling beat, deep bass, synth layers and angelic vocal samples — emotional and romantic without a strong instrumental lead. The sparse instrument list keeps the midrange open for dialogue or narration. Good for fashion film, luxury lifestyle brand content and slow-motion summer imagery.
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.
Harder and more confrontational than the rest of the EP — 87bpm in D minor with heavy beat and bass, horn punctuation and strings adding menace behind aggressive male rap. Suits confrontation, training sequences or footage that needs bite.
Slow, dirty 80 BPM swagger rock in D, built on a grimy electric guitar riff, heavy drums and bass with piano adding a rustic edge. Struts rather than sprints — attitude and menace over speed, with room in the groove for dialogue or narration.
The fastest of the album's uplifting cues at 134bpm in D minor, pairing a piano figure with claps, driving beat and synth layers that push toward trailer-drum hits and rises. Moody underneath but clearly aimed at achievement — the arc lifts rather than darkens.
Bright, optimistic future bass pop at 144 BPM in E major, built on a punchy beat, guitar hooks, synth leads and brass accents, with the longest runtime on the set at 3:18 for extended edits. The arc is straightforwardly uplifting — steady verse groove into a big feel-good chorus lift.
At 97bpm this is the heaviest, most deliberate track here — stomping drums, low-slung bass and saturated guitars in E flat, intense rather than cheerful. Fits motocross, big-wave and dirt-and-dust footage where each hit needs to land hard.
The title cue: a tight 2:20 in G at 90bpm, driven by distorted bass, sharp synths, cinematic sfx hits and a trap beat with a cool, menacing swagger. Compact and punchy, with a clear percussive drive rather than a melodic lead, so it sits behind narration or fast cuts.
The darkest and longest of the driving cuts: 110bpm in D with beat, bass, arpeggios and grinding electric guitar, moody and mysterious rather than uplifting. Its four-minute span leaves room for a long tension-to-release arc, ideal for extreme sports edits and night-drive sequences.
Mid-tempo 100 BPM E minor riff rock with a steady 4/4 kick, synth layers and gritty guitar over solid bass. Darker and more purposeful than the album's faster cues, with a confident forward push suited to build-and-launch edits.
The album's title cue: a fast 158bpm D minor swagger-pop burner built on distorted electric guitar riffing, hard-hitting drums and bass with attitude-heavy female vocals. Runs a tight 2:08 with a driving, unbroken push suited to cut-to-picture action.
A slow-swaggering 96 BPM riff cue in E where wailing harmonica sits over distorted guitar, fat bass and trailer drums, giving it a dusty outlaw-blues edge the rest of the album lacks. Risers and ramps push it through repeated hits toward a heavy final statement.
The title cue: a 120bpm synthpop-pop hybrid in C# where synth pads and pulse sit under acoustic guitar, dulcimer, percussion and a full drum kit. Bright, summer-forward and ad-ready, with an uplifting arc that lands by 2:44.
Title cue of the set: a 130bpm E minor future bass strut built on toms, hard claps and a distorted guitar riff cutting through the synth bass. Struts rather than sprints, with a swaggering hook that suits comedic bravado as much as straight action.
At 120bpm in C major this is the album's mid-tempo anthem, a building arrangement of distorted guitars, acoustic drums, bass, male vocals and strings that grows toward an uplifting payoff. The slower tempo gives footage room to breathe, and the title's return-home connotation suits reunion and comeback stories.
The most pop-leaning and rhythmically forward track at 99 BPM in E minor, with distorted guitar, drums, bass and synth behind a male lead vocal. Framed around a breakup, it plays sexy and defiant rather than wounded, making it the natural fit for attitude-driven cutting.
Chillstep-leaning and the most playful of the 120bpm inspirational cues, in A, with piano, pads, arpeggios, layered percussion, drums and guitar. Lighter and more buoyant than its title-track sibling, suiting warm lifestyle imagery, water and summer footage.
At 100 BPM in E and the longest cut here, this one takes its time with a venomous southern blues-rock groove of distorted guitar, thick bass and trailer drums. The extra length gives room for multiple riser-and-ramp builds before a decisive payoff.
A 90bpm downtempo electronic groove in G minor built on synths, a warm organ layer, wordless vocal textures and vinyl crackle, with rises and swells pushing each section forward. Mellow but with a cool, sultry swagger that suits slow-motion imagery and confident on-screen movement.
The clear outlier: a bright, energised synthwave cut at 146bpm in F with driving bass, synths and vocal samples, tagged fun, sexy and summer rather than dark. Use it where the rest of the album is too menacing — lifestyle and extreme-sport energy with no shadow.
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.
A laid-back 95bpm groove in D with jazzy piano chords, strings and chopped vocal samples riding a fat bass and vintage drum kit. Slinkier and smokier than its neighbours, it works for night-time city footage and anything with a flirtatious edge.
The slowest and heaviest cue on the set, an 80bpm D minor half-time stomp where distorted guitar riffs sit against dark orchestral strings and sound design hits. The long 2:54 runtime allows a slow ominous opening to grow into a full metal-and-strings payoff, making it the album's go-to villain-reveal piece.
The most soaring cue on the album: 143bpm chillstep in G flat combining a halftime beat and 4/4 kick with bass, piano and vocal samples for an uplifting, wide-open lift. Its extreme-sports and celebration leaning makes it useful where the picture needs scale and forward drive. Fits snowboarding and drone reels, New Year or countdown packages, and aspirational brand films.
The most optimistic of the chillstep cues — 110bpm in bright E major, pairing piano figures with glitched beats, wide pads and vocal samples. Moody at the start but tilting uplifting, it suits footage of change, thaw or renewal.
The album's title cue: 80 BPM in Em with pulsing distorted guitar riffing, bass, stomping drums, claps and wordless oohs and ahhs behind the groove. The most aggressive and action-leaning of the mid-tempo tracks, aimed squarely at extreme sports highlight reels.
Guitar-led at 87bpm in E major, the sunniest and most organic-sounding track here, with clipped vocal samples, claps and a soft electronic bass. Feel-good and romantic, ideal for warm summer footage and easy-going brand storytelling.
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.
The most orchestral-flavoured trap on the record: 808 sub drops and beat under violin and string lines with brass and vocal samples, giving the dark confidence a cinematic edge. At 1:57 it is the shortest and most compact — a fast-hitting bed for a defiant, rebellious cut.
The shortest of the fast cues at 2:30, 162bpm C minor, and the only one pairing metal guitars and drums with synth and programmed beat instead of strings. That electronic edge makes it the modern, industrial-leaning option for tight cutdowns.
A 110bpm E minor hybrid trailer cue built on a low drone and pulsing synth figure that hands off to heavy trailer drums, risers and impacts. Over two and a half minutes it moves from sparse, procedural menace to a hard percussive back-end, with no melodic lead to compete with dialogue.
At 101bpm in E minor this is the softest, most romantic of the four-on-the-floor cues here, built from synth pads, bass, hand percussion and airy vocal samples with no piano or strings to harden the edges. Emotional and introspective, it stays in a gentle chill-house groove for four minutes. Works for intimate couple footage, skincare and wellness brands, or reflective vlog voiceover.
The most feel-good cue here: a 120bpm A minor house groove with 4/4 kick, claps, piano and strings giving it warmth rather than menace. Positive and slightly sultry, suited to lifestyle footage more than hard sport.
The most driving cue on the record: 120bpm in D minor with insistent arpeggios, hard synth bass, a tight beat and female vocal samples used as texture. Intense and slightly ominous, suited to fast-cut action and technology reveals.