31 cues
The longest cue at 2:22, 110 BPM in E flat minor, and the most explicitly bodily: breath and scream elements sit inside the violin, drone and growl bed alongside ramps and trailer drums. Best for a discovery-of-remains or possession reveal where the horror is voiced rather than implied.
110 BPM in B minor with a fragile piano figure set against violin, drones and growls, then screech risers and trailer drum impacts. The piano gives it a missing-person, human-loss edge that the purely textural cues here lack.
At 60bpm in C minor and the longest cue on the album, this is a bare piano-and-strings piece with the screeching high-register string writing the album trades in. The unhurried length allows a slow accumulation of dread, ideal for interrogation scenes, a cold-case interview bed or a lingering crime-scene walkthrough.
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.
A drone-and-pad investigative bed in Gm with flute and sparse piano touches floating above at 95bpm. Cold, unresolved and airy, it works as an evidence-review or interrogation-pause atmosphere where dialogue carries the scene.
Full-on horror design at 120bpm in C minor, with harp, music box and piano set against clock ticking, creature sounds, female vocal FX and an explosion. The most literally frightening cue on the album and its most sound-effect-heavy.
Slow 70bpm G minor score piece with piano, flute, strings, bells, brass and timpani, the widest palette on the album and the only one carrying a fantasy shading alongside the horror. The pace lets each haunted phrase hang, suiting a dreamlike or storybook-gone-wrong sequence, an illness or grief passage, or a slow reveal of an abandoned house.
At 78bpm in E this is the slowest and shortest of the vocal-led pieces, a menacing crawl of female vocal effects, breath and chanted shouts over drone and drum hits. The revenge-narrative title and 1:32 length make it a tight trailer intro or single-scene stinger.
The fastest cue on the album at 172bpm in C minor, with piano, screeching strings, woodwinds and brass locked in frantic motion. Claustrophobic and airless as the title suggests, it is the go-to for a full-tilt escape through corridors, a machinery-driven panic sequence, or the climax of a horror pursuit.
At 2:56 the longest cue on the album, a D minor drone-and-synth suspense bed with percussion and a low beat at 102bpm that gives editors room to build an extended sequence. Ominous and haunting throughout, more brooding than jump-scare. Useful where a scene needs continuous unease across several shots.
Drone and synth with bell figures at 110bpm in Em, more spacious and meditative than the tension cues around it. Its 2:44 length and unresolved, haunted stillness suit memory sequences, returning to a crime scene, and slow reflective narration.
The fastest and most aggressive cue here at 160bpm in D minor, pairing cello and darker string writing with trailer drums for a genuine chase pulse. An ocarina line lends a haunted, exotic edge above the low end, suited to night-time pursuit rather than static tension.
The shortest cue at 2:18, a compact 130bpm G minor bed with a synth arpeggio ticking under cello and haunting string lines. Dark and unresolved with no drum payoff, making it a tidy drop-in for a tense two-minute scene or a promo bed.
140bpm D minor cue that uses a heartbeat pulse under drone, pad, strings and synth before distortion, drums and a big hit take over. The physiological pulse makes it an obvious fit for capture, interrogation or countdown scenes.
At 1:19 one of the longer beds, pairing prepared-piano FX and metallic scrapes with a haunted melodic fragment before the drones and impacts take over. Evil and ghostly rather than purely mechanical, so it works for abandoned-location reveals.