45 cues
The fastest cue at 142bpm, piano with strings in F minor, its quick inner motion giving the somber material more forward pull than its neighbours. Introspective and searching rather than settled, suited to a character working through something. Use for a long-form documentary journey, a training-and-recovery arc or an inward-looking narration passage.
Despite the lullaby title this is the fastest cue at 128bpm in A minor, with acoustic guitar, drone and wordless male vocals implying a fast rippling pulse rather than loud drums. The mood stays dark, sad and wintry, so the speed creates unease instead of energy. Effective for escape sequences, water and current imagery, and tense documentary build-ups.
The title cue and the most modern-sounding: piano and strings joined by synth and beat at a driving 150bpm in D minor, melancholy but propulsive and clearly building. Nearly four minutes gives it room to escalate from moody electronic-neoclassical pulse to a full dramatic head of steam.
A minor cue at a moderate 112bpm for piano and strings, melancholic and intimate — memory looked back on with regret rather than comfort, despite the title. Sits well in the corporate-drama space the tags point to, where a story needs weight before it turns. Suits testimony, retrospectives and quiet farewells.
89bpm in G major but tagged dark and somber, so the brighter key reads as pale winter light rather than optimism; acoustic guitar, drone and hushed chanted vocals carry it. Floating and still across 3:01, with light tension underneath the calm. Suits early-morning landscape footage, rural documentary openings and contemplative narration.
Slow 70bpm piano and strings in A minor, somber and melancholy with an anguished, wintry weight and no percussion to push it forward. The sparse duo texture leaves plenty of room over the top, making it a natural bed for grief, loss or reflective narration.
The longest and most settled of the ambient pieces, pairing atmospheric electric guitar and bass with organ in C minor. Untagged tempo and a slow drift make it a sustained bed rather than a build — good for extended reflective passages, memorial footage or contemplative landscape work.
C minor felt piano at 110, with a title suggesting something strange, fluid and submerged — the mood here is curious as much as melancholy. Under two minutes, sparse and unadorned, with the muted hammer attack giving each phrase a soft edge.
At 66bpm in E flat minor and over four minutes, this is the longest and most languid cue here: piano, bass, unhurried drums and a solitary saxophone. Wistful, boozy and introspective, ideal for solitary window-seat imagery and long narration runs.
Electronic neoclassical in G# minor, pairing piano and strings with a steady beat, synth texture and male vocals. The title's strategic patience matches a cue that stays measured and somber while hinting at resolution. Suits deliberate, calculating narrative footage.
A three-minute reworking of the song into ambient neoclassical territory at 110 BPM in B flat minor, with female vocals floating over synth arpeggios, sustained drone, piano and harp. The mood is haunting and introspective rather than dramatic, with the longer running time allowing a slow, patient build and settle. Suits footage of empty streets, lockdown isolation, long-distance separation or quiet interior solitude.
The fastest cue on the EP at 160bpm, a half-time-feeling F minor trap-R&B track where skittering programmed beats and low synth bass sit under a moody male lead vocal. The tone is somber and withholding rather than triumphant — a break-up song that keeps its cool.
At 106bpm this is the slowest cue here, a C# minor piece where piano and live strings move over a soft beat with plenty of air between phrases. The coming-of-age title fits footage of transition — leaving home, a first job, a look back at childhood — and the restrained arrangement leaves the midrange clear for narration. Emotional but never overplayed.
E flat minor felt piano at 118, sharing its key with "Sap And Tears" but running longer and sitting closer to plain sorrow — abandonment, disuse, things left behind. Intimate close-recorded solo playing with room ambience intact, no build to a climax.
Piano, strings and a low bass line in E-flat at 120bpm, leaning hopeful rather than mournful — the thaw implied by the title reads as gradual warming across three and a quarter minutes. Good for footage of recovery, change of circumstance or a return home.
A slow 65bpm underscore in F# minor with acoustic and electric guitar, piano, bass, strings and a restrained beat, plus soft male vocals and harmonies. Moodier and more somber than its neighbours, useful for reflective or bittersweet turns in a story.
Ambient electric guitar with bass and synth pads at 104bpm in E flat minor, ethereal and lullaby-soft as the title suggests. Reflective and slightly sad, with room over the top for voiceover; works for nightfall footage, hospital or family scenes, and quiet indie storytelling.
The slowest cue on the set: piano at 55 BPM in G# minor with violin, strings and harp threading around it, plus a soft synth pad underneath. Somber and noir-tinted, with a thread of hope in the string writing, and short enough at 2:13 to sit under a single scene of quiet desperation.
Sparse piano figures over a low drone with wordless female vocal colour, moving at a nervy 132 BPM in C# minor without ever raising its voice. Somber and haunted rather than aggressive, it suits the moment a motive becomes clear. Good for interrogation scenes, evidence boards and cold-case reconstruction.
Sparse piano figures over analogue synth drone at a slow 70 BPM in A flat minor, unsettled and introspective rather than overtly threatening. The title's sense of things coming apart suits footage of a case or relationship deteriorating, and the drone-led bed leaves room for narration.
The shortest of the sad-set cues, 90bpm in F minor, with piano and cello carrying an aching, unfulfilled line over quartet strings. Slightly more forward-moving than its neighbours, useful when yearning needs momentum rather than stillness.
At 68bpm in D minor this is the album's slowest and longest statement, stripped to piano and violin alone. Sombre and openly grieving with a thread of hope, and the 4:17 length gives room for a long scene or a full narrated passage.
Solo piano in G minor at 130bpm, the sadder companion to the album's other keyboard piece — moody and introspective with a flowing, restless right hand. Good for night driving, quiet grief, or an elegant brand film that wants melancholy under its polish.
The slowest and shortest piece here: 62 BPM in A minor, 2:15, piano and strings over synth with sparse drum touches. Pensive and somber, tinged with regret, it works as a short breathing space between heavier scenes.
The title cue: an extremely slow 42bpm F sharp landscape of drone, pad, synth arpeggio, cello, bells, piano and choir. Beautiful but unsettled — labyrinthine and haunting across more than seven minutes, with no clean resolution.
Dark and introspective at 96bpm in A flat minor, with strings and piano over a downtempo beat, vocal samples and wordless ooh-and-ahh backing voices. No lead male vocal here, which makes it the more cinematic and atmospheric of the moody cuts. Suits interior monologue, surveillance footage or a slow reveal.
The album's darkest turn: an A minor piano-and-strings underscore at 97 BPM with bass, synth texture and restrained drums, weighted toward grief and regret. Intimate and introspective, it suits scenes of loss recalled in a domestic space rather than any uplift.
The slowest and heaviest-grooving track at 91bpm in B minor, leaning into a dark, dragging trap pocket of deep bass and sparse synths beneath a brooding male vocal. Its unhurried tempo and confrontational title suit scenes of simmering conflict rather than release.
Solo guitar at 64 BPM in C# minor, short at under two and a half minutes and built for a scene that has already ended badly. The playing stays quiet and unhurried, more resigned than grieving, with the minor key doing the emotional work rather than any swell.
The stillest cue on the album: a slow 85 BPM D# minor bed of sustained strings, distant brass, choir and scraped textures over a heartbeat-like pulse, with piano fragments and risers pushing toward an unresolved edge. It stays quiet and watchful rather than building to a hit, leaving plenty of room over dialogue or narration. Suits aerial landscape footage, a frozen crime scene, or the calm before a reveal.
Delayed electric guitar over bass, piano and cello, moving at a brisk 128bpm pulse that reads as gentle forward motion rather than drive. The title and D-major setting point to a closing, resolved feeling — a farewell that lands warmly. Suits final-scene montages and end-credit sequences where a story ties off.
The slowest and most tender piece here: 60 BPM in C minor, piano and live strings with wordless female vocals over the top. Somber and reflective at the outset, moving toward an uplifting, soaring close — written for memory, ageing and loss without becoming maudlin. Strong for a final-act farewell or an end-credits reflection.
A slow, sparse classical piano reading of Debussy's 'Footsteps in the Snow' from the Préludes, built on a repeating, hesitant step-figure that never quite settles. The mood is desolate and quietly romantic, with unresolved harmony and long silences between phrases, running nearly five minutes at a funereal pace. Suits bleak winter landscapes, memory and loss sequences, and period drama interiors where the emotion is withheld rather than stated.
The most sombre cue on the album: 90 BPM in E minor, where viola and cello join piano, guitar and bass for a gloomy, regretful love-story tone. Two minutes of quiet strings-and-piano weight for goodbyes and things left unsaid.
Slow 76bpm D-major bed of reverbed electric guitar with bass, piano and cello, and the shortest cue here at 2:41. The title implies a remembered conversation — intimate, sad-edged and conversational in pace, leaving room above the guitar for narration. Good for interview segments and quiet character beats.