54 cues
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 mid-tempo Western stomp at 97 BPM in D minor with gritty male lead vocals, distorted guitar, dobro slide and fiddle riding over heavy orchestral trailer drums. The march-like pulse and gallows imagery suit a condemned-man walk or a slow-burn showdown build that pays off big in the final third.
The darkest and most electronic track here: 120 BPM in E with 808 sub-bass under distorted guitar and trailer drums, leaning into mystery and psychological menace rather than blues swagger. Rises and impacts structure it as a tension-forward trailer bed that stays threatening to the end.
The fastest and shortest of the driving cues, 135bpm in E minor across 1:40, with pulsing rhythm, guitar, strings and relentless hybrid drums. Compact and urgent, it reaches its impact-laden peak quickly — built for chase cutting and tight promo slots.
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.
A tight one-minute cut of driving electric guitar riffing over trailer drums, with ramps and rises stacking toward a hard impact ending. Stripped of the album's roots instrumentation, it is the most direct rock promo tool here — no ambiguity, straight to the payoff.
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.
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.
The slowest and shortest of the vocal cues at 87 BPM in E minor, letting dobro, dirty guitar and soulful male vocals hang in the dust before orchestral drums push it to a heavy back end. Suits a lone rider arriving in an abandoned town or a brooding character-driven cold open.
Fast 160bpm D minor attack cue built on an aggressive distorted guitar riff, impacts and ramping percussion. The shortest-fused kind of build on the album — swaggering and relentless, landing hard at the end of its 2:24.
Fast and punishing at 152bpm in D# minor, built from big distorted guitar riffs, hard-hitting drums and synth sound design. The 2:27 length and near-constant drive suit sustained on-screen mayhem rather than a slow build.
An instrumental 130 BPM cue in C minor with a quirky, comedic streak in its tags — dobro and distorted guitar snapping over fast orchestral drums. The tongue-in-cheek swagger fits a comic standoff, a competitive game-show style face-off or a fast-cut caper.
The album's most stripped cue: 76 seconds of big hits, thumps and impacts at 120bpm in C minor with no melodic content tagged. A pure percussive tension bed for escape and pursuit sequences that needs dialogue or narration over it.
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.
The title cue drives at 130bpm in E minor with electric guitar riffing over hybrid trailer drums, drones, risers and big impacts. It builds from an ominous intro into a hard-hitting action peak, with no strings to soften the edges — the leanest, most guitar-forward statement on the set.
A 140bpm B minor hybrid metal cue that pairs bleak, wide synth atmosphere with grinding distorted guitar and hammering drums. Over 2:38 it works as a dark, forward-moving bed for desolate or oceanic imagery turned menacing.
An instrumental at 90 BPM in G# where mandolin and clanking chains sit alongside dobro, distorted guitar and orchestral drums, giving it a rustic, hard-edged texture rather than a vocal hook. The slower tempo and open instrumental space make it usable under narration for prison, frontier labour or slow-approach footage.
A 133bpm C# minor hybrid rock cue whose title points toward the colder, more atmospheric end of the album — icy synth textures and suspenseful space ahead of the distorted guitar and drum payoff. The 2:35 runtime gives room for a mysterious opening before the riffs land.
Mid-tempo 97 BPM southern-fried rock in E built on gritty guitar riffs, distorted bass, drums and trailer percussion with a retro bar-band snarl. Ramps and risers drive it in blocks toward a hard-hitting close in just over two minutes.
Short and blunt at 2:07, this 120bpm C minor cue rides a mid-tempo groove that lets the distorted guitar riffs hit with maximum weight rather than speed. The tempo makes it the easiest piece here to cut to slow-motion footage and hard impact edits.
At 125bpm in B minor and only 2:11, this is a tighter, murkier hybrid metal cut where synth sound design and suspense hold the front before the guitars and drums take over. Its brevity makes it a clean fit for a 30- or 60-second spot.
A compact 1:50 cue at 105 BPM in E with a strong 70s vintage bent — raw bluesy guitar, distorted bass and drums bolstered by trailer percussion. Tight and punchy, it moves through ramps to an emphatic ending with little wasted space.
At 1:42 this is one of the longer builds, a 105bpm rock cue with male vocals, drone and guitar leaning into suspense and investigation rather than pure aggression. Trailer drums and rises carry it from a murky opening to a heavy resolution.
The slowest cue at 85 BPM in E, a heavy strutting rocktronic groove where claps and a siren sit over distorted guitar, bass and trailer drums. The low tempo makes it feel bigger per beat, with a vintage cocky attitude and a clear final landing.
The title track and the fastest thing on the album at 171bpm in B flat minor, a full-tilt hybrid metal charge of shredding distorted guitar, blast-tempo drums and screaming synth design. At 2:23 it is a concentrated adrenaline hit with no let-up.
The shortest cue at 2:11, a compact instrumental at 116 BPM in B minor with dobro, distorted guitar and orchestral drums delivering swagger without a long build. Its brevity makes it a natural fit for a promo cutdown, a character title card or a short-form ad.
The longest cue on the album at 3:10, 126bpm in B minor, giving the most room for a full trailer structure: ominous low-end and sound design early, escalating distorted guitar riffs and drums through the middle, and a heavy final act. Best choice when a scene needs a genuine arc rather than a single hit of aggression.
A 100 BPM E minor swagger blues-rock cue with soulful male lead vocals, dobro and distorted guitar layered against big orchestral drums. The posse-on-the-move feel fits a crew assembling, a lawmen-versus-outlaws sequence or a defiant character introduction.
Slowest cue here at 86bpm in C, pairing synth texture and drone with guitar, male vocals and trailer drums for a heavy, deliberate crawl toward its impact. The slow tempo leaves the most room between hits, making it the best fit for narration-led suspense.
Dark and urban at 128bpm in B minor, guitars and strings drive over hybrid percussion, rises and heavy booms. The 1:45 arc is a straight ominous-to-intense climb, well suited to night-time city footage and neo-noir cutting.
The album's title cue, driving at 125 BPM in C# with lead male vocals, fiddle, dobro and distorted guitar over pounding orchestral percussion. Fast, cocky and confrontational — built for a card-table double-cross, a chase across open country or a high-stakes reveal.
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 longest cue at 2:54, moving at a patient 94bpm in B minor with drone, sparse booms and a grinding distorted riff. Wide open and desolate early on, giving it the slowest, most cinematic build on the record before its heavy payoff.
The most tender cue here: 120bpm in D minor, tagged heartfelt and romantic with indie-rock guitar, strings and restrained trailer drums. At 1:37 it grows from an intimate, exposed opening into an emotional lift rather than a brutal action peak, keeping the drones and impacts as texture.
The lightest and most playful cue on the album, a short 1:41 romp at 110 BPM and the only track in A, with handclaps riding alongside distorted guitar, bass and trailer drums. Fun and cocky rather than menacing, useful when action needs a wink.
The fastest cue here at 134 BPM in D minor, an all-instrumental blast of distorted guitar, dobro and hammering orchestral drums with no comic wink — straight aggression. Built for a shootout, a pursuit sequence or a trailer's final act rush.
A 120bpm C minor cue with a pulsing undercurrent beneath guitar, strings and trailer drums, flagged for eerie small-town Twin Peaks atmosphere as much as action. It simmers with ominous menace before the impacts arrive, ideal for a stand-off or a slow reveal of something wrong.
Slower and more emotional at 105bpm in B minor, leaning on drones, guitar and hybrid impacts rather than a hard riff. Haunting and apocalyptic at the start, turning inspiring and uplifting as it grows to a full-weight ending.
Fast and menacing at 133bpm in G minor, with harmonica wailing over drone, guitar, male vocals and trailer drums across 1:50 of steady escalation. The most propulsive of the crime-drama cues, with plenty of runway for a multi-stage trailer cut.
At 2:54 the longest cue on the album, instrumental at 121 BPM in C minor with an ominous cast — dobro and distorted guitar over orchestral drums, with room to develop across a full trailer arc. Suits a countdown, a manhunt narrative or an episodic recap that needs menace under the picture.
At 120bpm in E minor, this one adds strings to the guitar-and-drums core, giving the aggression a wider, more emotional sweep across its 1:54. Haunting drones and ramps build toward booming impacts, suiting revenge-driven or apocalyptic storytelling.
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.
At 75bpm this is the album's slow, heavy crawl — an E minor half-time hybrid bed where distorted electric guitar and drones sit under booms and rising ramps. Treated vocal FX keep it haunted rather than heroic, suiting a brooding anti-hero introduction or the darkest act of a comic-book trailer.