61 cues
Fastest tempo on the album at 140bpm and in D major, driven by bass and strings against tongue drum, water handpan and waterphone for a liquid, shimmering surface. Anticipatory rather than tense, it fits a decision point in a journey narrative or a purposeful trek sequence.
The longest cue at 5:03, a 100bpm G minor journey layering shaman drum, tabla, madal and shakers under strings, pads and pulse, with ocarina, whistle and wordless vocals surfacing over bells and ting sha. Risers and rainstick shape it as slow-building tribal tension that can carry a whole investigative or expedition sequence.
At 3:11 the longest cue on the album, a gently rolling B minor bed at 90 BPM where piano notes float over continuous drone and pad texture, matching the water imagery of the title. Its length makes it the practical choice for long-form narration or extended massage and meditation content. Fits spa and wellness visuals, underwater or coastline footage, and slow-motion nature photography.
The most explicitly Chinese-instrumented cue on the album, with guqin and qudi flute plus wordless voice over drone, pad, piano and light percussion at a slow 85bpm in B minor. Spacious and pensive, it fits period or ceremonial imagery and slow-motion character introductions.
The slowest cue at 98bpm in C, opening from drone and pad textures with piano, strings and atmospheric vocal samples before percussion and brass raise it. The unhurried tempo leaves the most headroom for narration in its early half.
Despite the fast 130bpm grid this stays tranquil, layering marimba and choir over pads, drone and light percussion in F minor. The world-tinged texture gives it a wide, exploratory feel suited to landscape and nature imagery.
A warm, unhurried downtempo bed in F minor where sustained drones and pads sit under soft shaker and rattle percussion, with a breathy flute line drifting on top. The pulse is gentle and steady rather than driving, holding one calm plateau for its full three and a half minutes. Suits wellness and spa visuals, sunrise nature photography, or a reflective travel sequence needing air for narration.
The most openly inspiring cue here: 90 BPM in F, with drone bass, strings and arpeggiated synth under a simple piano figure, tilting major and hopeful. Its 4:20 length gives room for a long lift, ideal for achievement narration and archive space footage.
A slow 60bpm drone-and-pad bed in G with no melodic lead, built for open water: sustained synth layers that swell and recede like surface swell. Bright and neutral rather than dramatic, it stays airy across 2:49 and leaves the top of the mix clear for narration.
The longest track here at 3:09, 110bpm in C#, with piano, strings, pad and sub drone giving the widest runway of any cue on the album. The reunion-suggesting title and the extra length suit an emotional arrival or resolution scene edited in full without looping.
At 5:17 the longest piece here, 76bpm in E with piano, strings and drums and no synth layer — an acoustic, romantic slow build with room to develop across several scenes. Tagged for spring, it carries warmth and quiet longing rather than corporate polish.
The fastest cue on the album at 172bpm, pairing a G minor drone bed with wordless female vocals and a light pulsing beat for a sense of ritual momentum rather than outright threat. Haunting but with a spiritual, upward-looking quality that suits cosmic or cult-adjacent imagery. Sits under narration easily since the voice is textural, not melodic.
B minor gives this 118 BPM cue a shadowed edge, with steel guitar and dobro sliding across acoustic guitar and piano. Drumless and drifting, it reads as unsettled Americana — good for dusty roads and unresolved character beats.
The slowest cue on the album at 50bpm in D flat, pairing deep drones and pads with French horn and wider brass for a weightier, monument-scale feel. Anticipation builds gradually over 3:05 without ever breaking into rhythm, suiting ancient sites, archaeology and human-history segments.
A 120bpm C major build with pulsing bass under strings, synth and sound design, opening calm and widening into braams and orchestral drums. Major key and no choir make this the brightest, most natural-history-friendly cue on the album.
The fastest of the drum-led cues at 140bpm in E minor, pairing frame drum and big drums under a haunted ney flute. Title and pace suggest aftermath and marching dread, with tension sustained instead of released. Works for battlefield aftermath footage, tribal war history, or a grim desert crossing.
Instrumental ambient underscore at 100bpm in F#, piano figures suspended in pads, drone and soft string beds with no vocal layer. Dreamlike and inward-looking, matching its title — good for reflective interview passages and memory or reverie footage where dialogue must sit on top.
The album's most tender cue: strings, piano and woodwinds in C minor at 98 BPM, sad and heartfelt with a romantic ache and a long 2:46 arc. Good for rain-soaked visuals, reconciliation scenes or a documentary's emotional turning point.
The most human-sounding cue here: male vocal chant floats over drones, pads, cello and strings in an open C at a walking 100bpm. Its inspiring lift makes it the album's choice for a wide aerial reveal or a reflective closing sequence rather than pure suspense. Nearly three minutes gives room for a slow build.
An 84bpm drone, synth and pad bed in D flat, glassy and neutral in character with slow anticipation rather than drama. Its 2:51 length and lack of melodic lead make it an easy underlay for ice, water and slow-motion detail shots.
Slower at 94 BPM in D major, with piano over drone and synth pads left wide open — one of the more still cues on the record. The title's submissive tone suits footage that is patient and observational rather than triumphant. Place under microscopy, a quiet interview, or a spa and mindfulness sequence.
The one cue on the album without a pulse layer: piano, cello and airy wordless vocal drift over guitar texture and soft FX in E flat, so it floats rather than moves. Warm but shaded with melancholy, it suits reflective narration and slow landscape imagery.
The darkest cue on the album: 90bpm in F# minor with pulsing bass under piano, strings, beat and wordless background vocals, and the only one tagged for crime drama and tension. It keeps an urgent unease beneath the ethereal surface rather than resolving into brightness.
A 90bpm G minor underscore built on piano and sustained strings with cello underneath, a soft beat pulse and wordless vocal texture giving it lift. Somber but hopeful, it opens wide rather than pushing hard, suiting aerial landscape footage or a reflective mid-episode passage in a documentary.
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.
The only cue here built around wordless female vocal samples layered over piano, sustained strings and a low sub drone, at a floating 120bpm in B flat. Bright and airborne rather than sad, it suits fluttering, small-scale nature imagery and slow-motion or timelapse edits; at just over two minutes it works as a short scene-setter.
The most cinematic of the suspense cues: 125 BPM in F minor with drone, pads, bells and electric guitar over a driving soft beat, pointed toward investigation and unscripted drama rather than meditation. Tension is sustained and forward-moving, without a clear melodic lead to fight narration. Built for crime-series reconstructions, surveillance and stakeout footage, or a procedural evidence montage.
A strings-only cue at 108 BPM in C minor, poised and elegant rather than aggressive, with sustained lines that hold anticipation across a short 95-second span. Its restraint and lack of percussion make it a clean bed for narration over ascent, effort or high-stakes reveal footage.
The 62bpm D-major cue is the most openly warm of the brass-and-strings entries, with sustained pads under a wide, unhurried orchestral glow. At 2:39 it is a compact, euphoric-leaning bed for grassland, farmland and big-sky horizons.
The album's longest cue at 2:19, 100 BPM in G major with piano, strings and cello joined by synth and wordless vocals over a light pulse. Its extra length allows the gentlest, most patient rise on the record — renewal and new-growth imagery.
Piano lines over drone and pad in E, curious and open at 100bpm across nearly three minutes. Lighter and more airborne than its minor-key neighbours, it suits sky, cloud and elevated aerial photography while retaining an undertow of suspense. Leaves plenty of room for narration.
A 129 BPM trio of acoustic guitar, bass and drums in D, keeping a steady mile-eating pulse that matches the title's sense of distance. Warmer than its name suggests, it works for solitary journey footage that still ends hopefully.
Slow 93bpm F minor drone with female vocals and chant, the most sacred-sounding piece here — mysterious rather than frightening. No percussion, so it drifts and leaves the frame quiet for narration. Fits celestial imagery, religious ritual, or a meditative passage in an otherwise tense episode.
Ney flute lines circle over a sustained drone while big drums and light percussion mark a steady 120bpm pulse in D minor. The mood is investigative and ritual rather than melodic, holding one tension level without a clear cadence. Suits archaeology and unsolved-mystery documentary, a search through an unfamiliar city, or a museum artefact reveal.
78bpm in D and the darker end of the collection: pure drone, synth and pad with a dry, moody, wind-scoured character and no orchestral sweetening. Haunting rather than comforting, it works for heat, sand and isolation over 2:58.
A 106bpm ambient underscore in F#, piano and strings held inside pads and sub drone, running a compact 2:06. The quietest-feeling title on the album; use it where stillness itself is the subject and narration needs unobstructed space.
The title cue, and one of only two with a lead vocal — a male voice over piano, cello, strings and a soft pulse in D major, tagged for air and flight. Weightless and quietly euphoric, it suits aerials, drone footage and moments of release.
Weightless 78 BPM ambience in D flat where drone bass, piano and arpeggiated synth are joined by trailer drums, giving the cue a percussive spine as it builds. Suits slow-motion suspension — freefall, underwater, orbital drift — and cuts that need a hit without turning dark.
85bpm in F, the longest of the dark trio at 3:09, with drone, synth and pad layers carrying a hollow, wind-swept desolation. Haunting and unresolved, it suits abandonment, aftermath and ruined terrain under sparse commentary.
The fastest cue on the album at 130bpm, though the drones, pads, cello and strings keep the surface calm and the C tonality open. Its three and a half minutes and suspense lean make it the strongest choice for a long descent or discovery sequence. Builds pressure without a decisive resolution.
The fastest cue at 154 BPM and one of two with a beat, giving it the most obvious rhythmic drive on the album while the piano and drone keep it serene in E major. At 2:07 it works as an uptempo closer or a motion-heavy edit. Suits hyperlapse travel, a fitness or wellness commercial, or a documentary end-title crawl.
At 86bpm in A this is one of the more forward-moving beds, adding koto to the drone and pad foundation for an East Asian colour over high-altitude imagery. The shortest track here at 2:36, it keeps a calm, meditative surface while implying ascent and discovery.
The album's title cue, 120bpm in G, piano and strings over drone, synth pad and sub for a cold, luminous ambient feel. Aimed squarely at aurora, ice and polar imagery, and at slow-motion or timelapse nature edits that want awe without drama.
Brighter than most of the album — G major at 115 BPM with piano, strings and drums — yet the mood stays somber and searching, sad rather than triumphant. Works over frozen landscapes, bittersweet resolutions and heartfelt documentary narration.
At 130 BPM this is the fastest and most driven cue here, an A minor chase built on a pulsing bassline, urgent strings, brass stabs and big drums with choir shading the top. The energy is sustained and forward-moving rather than reflective, ending on tension instead of release. Works for a pursuit, a countdown, or a trailer intro that needs momentum immediately.
At 92bpm in B this is one of the fastest pulses on the album, though the material stays drone, synth and pad with a cold, wind-blown darkness. Moody and haunting across 2:55, it suits barren northern expanse and creeping tension under narration.
A gentle 100bpm ambient piece in D#, piano and strings floating over synth pads and a low sub. The childlike, space-tinted title points at wonder and small-scale curiosity — well suited to children's science content, planetarium visuals or a quiet imaginative sequence.
A 69bpm underscore in E where brass and strings sit over the drone bed, giving a cool, noble northern tone across its 3:11 run. Reflective and unhurried, it grows in body toward the back half — good for fjords, forests and long aerial passes.
At 1:36 this is the shortest and most compact cue here, an instrumental with no vocal layer: piano, strings, cello and guitan texture over a driving pulse in G flat. Forward-leaning and purposeful, good for progress and transformation beats that need to be cut tight.
A 64bpm bed in A that sets brass and strings against deep drones for an ambiguous woodland mood — calm on the surface, faintly haunting underneath. Over 2:56 it balances discovery and unease, useful when forest footage needs a hint of the unknown.
Electronic sibling to the Abm chamber cue: piano, synth arpeggio and light kick over drone and pad, in C at 100bpm. The steadier tempo and major-leaning key make it the more forward-moving, less oppressive of the two, good for progress and process footage. Two and a half minutes suits a tight montage.
The only cue on the album to add strings to the piano, drone and synth, which gives it a little more emotional lift inside a compact 2:03. G flat major is soft and slightly hazy, matching the waking-up title. Good for a morning routine sequence, a charity or healthcare spot, or a short emotive montage.
The fastest cue on the album at 122 BPM in D, its synth arpeggios pulsing under wide strings and drone bass for a sense of forward travel rather than stillness. At 3:31 it's the tightest edit here, good for propulsive discovery montages and mission-progress sequences.