House of Trap
31 cues
A slow, heavy 77bpm half-time trap bed in C# minor where bells add a cold, glinting top line over deep 808s and dark brass. The stalled, ominous mood suits a setback or aftermath beat rather than a triumph, and its short 1:38 length works as a scene-setter.
Instrumental trap beat at 146bpm in E flat minor, built on programmed hats and kicks, sub bass and cold synth lines. The short 1:47 running time and isolated title suit a solitary, moody character beat rather than a crowd scene. Works as a loopable bed with no vocal to compete with.
A 92 BPM trap-pop single in A minor built on 808 sub-bass and a hard programmed beat, topped with a confident female vocal delivering the title hook. The minor key keeps it swaggering and slightly dark rather than sunny, and the 2:39 runtime is cut close to radio-single length. Suits any scene that needs attitude and body-confidence on screen.
The fastest cue here at 100bpm in A minor, with a futuristic synth palette over sub bass, trap snares and vocal samples and no acoustic instruments to soften it. Tight at 2:30 and driving, it works where the edit needs forward motion rather than swagger.
The album's title cue and its fastest, at 132bpm in D major, pairing bells and a flute hook with risers and impact hits over a hard trap kit. Nearly four minutes of forward-leaning swagger, with the FX build-ups giving editors natural lift points.
A 140 BPM beat in E with a low-slung, subterranean feel — 808 sub-bass and claps under a moody synth line. Somber and heavy but restrained, functioning well as a background groove rather than a lead. Useful for automotive detail shots, hip-hop podcast intros or documentary voiceover beds.
A lead female vocal trap song at 143bpm in D minor, riding sub bass, snapping trap percussion and synth pads with a romantic, reflective lean rather than a hard one. The longest of the female-fronted cuts, it has room for a full song shape from intimate verse to wide, emotive hook — good for footage that needs feeling and swagger at once.
The fastest cue on the album at 160bpm, an E flat minor trap beat with double-time hats, aggressive kick pattern and menacing synth over 3:16. Built for adrenaline and confrontation rather than cruising. Long enough to carry a full action or competition sequence.
An 80bpm beat in F, the only major-key cue in the batch, pairing booming drums and hi-hats with moody synth for a slightly warmer, more open-hearted take on the album's chill trap sound. Relaxed and steady, it holds a single groove throughout.
A slow 80bpm beat in A minor centred on a sustained organ line, sparse hits and scattered vocal chops, giving it a churchy, brooding weight. The four-minute length and open arrangement leave plenty of room for narration or a rap performance.
Darkest-keyed of the male-vocal trio — A flat minor at 150bpm — with bass, trap beat, synth and vocal samples driving a betrayal-flavoured, gangsta attitude. Tight 2:40 running time makes it a clean drop-in for a hard-cut action or reality confrontation sequence.
A 120bpm trap beat in a minor mode, built on brooding synth lines over heavy 808 low end, moving at a slow, swaggering pace rather than a frantic one. The long runtime holds a steady, unhurried groove with room for rap vocals or narration on top. Suits streetwear content, late-night city driving footage and defiant character introductions.
At 77bpm in C, this is one of the slowest and longest cues here, resting on a looping drum programme and simple synth figures with little melodic movement. Its repetitive, laid-back frame is built to sit under dialogue or narration for long stretches.
A cold, somber 142 BPM trap beat in F minor, driven by deep 808 bass, sharp claps and a bleak synth motif. Heavier and more downcast than the album's summer cues, holding a single grim mood throughout. Fits winter street footage, true-crime narration or a bleak character arc.
The fastest cue here at 177 BPM in C major, a double-time trap beat where flute lines and synths ride over heavy sub bass and rattling programmed drums. Cool and unhurried in mood despite the tempo, it works for footage that needs urgency without anger.
The companion single at 100 BPM in C major — faster and brighter than its A minor counterpart, with synth lines layered over the 808 and beat foundation and the same assertive female vocal. The major key and best-friend title push it toward playful, celebratory togetherness rather than pure club menace. Works for footage of friends out on the town, getting ready, or riding together.
At 130bpm with chopped vocal samples and effects colouring the beat, this is one of the album's longer and more atmospheric cuts, running close to four minutes. The processed voices give it a spacier, more textural character over the same dark 808 low end. Suits fashion film, nightclub interiors and moody documentary transitions.
Shares the 140 BPM tempo and E tonality of its neighbour but the title points to a smoother, gliding trap groove — 808s, claps and moody synths with a swaggering forward lean. Heavy and sexy, holding a steady club-adjacent pocket for three and a quarter minutes. Works for slow-motion car or fashion walk footage and rap-adjacent brand content.
An 89bpm C major beat that adds guitar and female vocal lines plus vocal chops to the trap kit and synths, making it the most song-like cue on the album. The sung element gives it emotional pull for relationship or personal-story footage.
A slow, half-time trap beat in C minor built on 808 sub-bass, crisp claps and a warm synth figure, sitting at a laid-back 75 BPM. The mood is romantic and slightly melancholy rather than aggressive, with steady loop-based motion across three and a half minutes. Suits late-night city driving, fashion b-roll or a reflective reality-TV confessional.
The fastest of the male-vocal trap songs at 150bpm in F# minor, built on heavy bass, chopped vocal samples and a crowd-calling, gangsta-flavoured lead. Intense and outward-facing, it plays as a get-up call for stadium arrivals, chase edits and party sequences.
A half-time trap cut at 70bpm in B flat, built on sub bass, clipped claps and rolling trap snares with a sparse piano figure and chopped vocal samples as hooks. Cool and swaggering rather than aggressive, it holds one attitude-heavy groove throughout, making it easy to loop under dialogue or narration.
The fastest and one of the shortest cues here at 150bpm and 2:33, with edgy synth lines over a hard trap kit in D minor. Its brevity and pace make it a punchy, unsettling insert rather than a long groove bed. Suits horror-tinged rap visuals, Halloween content and tense chase edits.
The outlier in tempo: a half-time 95bpm groove in F minor, bouncy and playful, with fat sub bass, lazy trap beat, synth and a flirtatious female lead plus vocal samples. Sexy and fun rather than aggressive — the swagger-walk cue of the album.
Uptempo 143bpm trap instrumental in E minor with hard kick and hat programming, sub bass and synth hooks, running a full 2:42 for longer edits. The party-leaning title points to the most extroverted, celebratory beat of the set. Suitable wherever a nightlife energy is needed under dialogue or narration.
The hardest-edged of the female-vocal tracks: 147bpm in E flat minor, distorted sub bass, trap hats and cold synth lines with a gangsta, confrontational attitude implied by the title. No romantic or reflective softening here — it suits pursuit, tough-girl entrances and hostile street footage.
A 136bpm trap cut sitting in a B flat centre, with 808 sub-bass doing the heavy lifting under a chilled, hazy groove. The cannabis-referencing title matches the album's smoky, mysterious tone. Suits nightlife b-roll, dispensary and lifestyle branding, and laid-back party scenes.