50 cues
The only cue here to add keys and electric piano to the distorted riff, claps and trailer-drum backbone, giving its 164 BPM groove in A a roadhouse swing under the raspy lead. At 3:01 it is the longest track on the album, with room for verse-to-chorus lift across a full underdog montage.
Delta-flavoured swagger at 95 BPM in E minor, driving guitar riff, hard backbeat, bass and claps with gang shouts on the hooks. Fast and confident with an anthemic chorus lift, close cousin to the album's other 95 BPM E minor cuts but leaning more traditional blues in flavour.
The title cue: a 90bpm stomp in A minor where claps, gang shouts, bass and distorted guitar sit under a snarling male vocal about revenge. Slower and heavier than the album's uptempo tracks, it swaggers rather than sprints — ideal for a slow-motion walk-in or the moment a character decides to settle a score.
A slow-burning 73 BPM blues rock cue in F minor built on distorted electric guitar riffs, heavy bass and live strings, with male vocals and vocal FX giving it a dusty, Western swagger. At nearly five minutes it has room to stretch from moody, rustic verses into full cinematic weight, making it a natural fit for desert highways, outlaw introductions and gritty character walk-ons.
The EP's title song and its fastest cut: a driving 155 BPM blues-rock stomp in G minor with distorted electric guitar, hard-hitting drums, bass and synth underpinning a female lead vocal. Confident and combative rather than mournful, it carries a roadhouse swagger through to a full-band finish across 3:20.
Bright F# major stadium rock at 135 BPM, pairing a four-on-the-floor kick with distorted guitar riffs and synth layers over driving bass. The shortest, most advert-ready cue here: a confident, victorious lift built for a fast cut that lands on a logo. Suits youth-skewed lifestyle and sports footage.
Mid-tempo riff rock at 117bpm in D minor, built on heavily distorted bass, tightly compressed drums and gritty synth textures with scattered vocal samples and FX. The title track's swagger sits in a driving pocket rather than a sprint, holding a confident strut across just over two minutes.
Stadium-sized blues rock at 139bpm in G minor, built on hard-hitting live drums, driving bass and dirty electric guitar riffs with chanted oohs and ahhs backing the hook. Cocky and aggressive without turning dark, it runs a tight 2:15 and lands hard enough for a sports package edit.
The album's title cue: a fast 158bpm D minor swagger-pop burner built on distorted electric guitar riffing, hard-hitting drums and bass with attitude-heavy female vocals. Runs a tight 2:08 with a driving, unbroken push suited to cut-to-picture action.
The slowest and heaviest strut on the set at 64 BPM in G#m, built on distorted electric guitar, hard backbeat drums, handclaps and a gritty organ pad. No bass listed, so the weight comes from guitar and claps — a swaggering, rustic walk-in cue for slow-motion entrances rather than full-speed action.
The slowest track here at 68bpm in D minor, a brooding western-tinged blues with male vocal, gritty guitar and a dragging, heavy-lidded drum feel. Regretful and menacing at once — suited to a scene of loss, betrayal or a long drive away from something.
The fastest cue on the set at 128bpm in B, driving distorted electric guitar, bass, claps and trailer drums under a swaggering male lead vocal. It runs hard from the top and stays aggressive through nearly three minutes, making it the go-to for full-speed sports cutting rather than a slow build.
A 70 BPM A minor blues-rock crawl built on distorted electric guitar, bass, drums and a synth undertow with a male lead vocal. The cautionary title lands as swaggering self-awareness — dark, dirty and confident, holding a steady menace across 3:17.
A tighter, punchier 80 BPM swagger rock cut in E minor that folds trailer drums into the distorted guitar and bass riffing, with male vocals carrying the confident attitude. Its 2:45 runtime and action-leaning arrangement make it the more edit-ready of the pair — good for fight builds, sports openers and anything needing cocky forward momentum.
A slow, heavy half-time stomp in D minor built on distorted guitar riffs, thick programmed beat, claps and chopped vocal samples, giving it a rock/hip-hop hybrid strut. The pace is deliberate rather than fast, so it reads as attitude and menace instead of speed — good for slow-motion entrances and athletes staring down a camera.
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.
The slowest and most brooding piece here at 56 BPM in E minor, pairing piano and strings with distorted guitar, bass and drums under a male lead vocal. Reflective and heavy-hearted but still muscular, it suits a long, serious emotional beat rather than an action cue.
The album's title cue: 80 BPM in Em with pulsing distorted guitar riffing, bass, stomping drums, claps and wordless oohs and ahhs behind the groove. The most aggressive and action-leaning of the mid-tempo tracks, aimed squarely at extreme sports highlight reels.
Slow, dirty 80 BPM swagger rock in D, built on a grimy electric guitar riff, heavy drums and bass with piano adding a rustic edge. Struts rather than sprints — attitude and menace over speed, with room in the groove for dialogue or narration.
Slightly faster and more percussive than its neighbours at 123bpm in A, driven by claps and stomps under electric and acoustic guitar, bass, drums and dirty male vocals. The handclap-and-boot groove gives it a gang-chant swagger that carries a scene forward without heavy melody. Works for a heist crew assembling, a bar-fight build or a sports promo.
Title track energy at a heavy half-time 82bpm in G, with stomping claps, bass, piano, trailer drums and a defiant male vocal answered by oohs-and-aahs backing. Short and purposeful at just over two minutes, built around an underdog-rising sentiment.
A slow-burning 63 BPM blues-rock number in E minor with piano alongside dirty electric guitar, bass and drums, fronted by a male vocal. The title's chase imagery reads as gritty determination — heavy-footed, deliberate and defiant across 3:28.
The fastest, most restless cue here at 126bpm in E minor, with punchy compressed drums, thick fuzz bass and synth stabs punctuated by vocal FX. At two minutes flat it stays lean and forward-moving, suited to quick cutting and jittery motion.
A 146bpm E minor chase cue blending electro synth production with distorted guitar riffs, claps and female vocals, its title pointing at a race-to-the-finish narrative. Slightly less frantic than the title track but still relentless, working best under speed footage and competitive climaxes.
A 76bpm slow-burn blues rock in B minor with male vocal, distorted guitar and a firm, unhurried rhythm section. Serious and confrontational — western grit with a stare rather than a shout, good for confrontation build-ups and morning-after aftermath.
Mid-tempo 100 BPM E minor riff rock with a steady 4/4 kick, synth layers and gritty guitar over solid bass. Darker and more purposeful than the album's faster cues, with a confident forward push suited to build-and-launch edits.
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 most pop-leaning and rhythmically forward track at 99 BPM in E minor, with distorted guitar, drums, bass and synth behind a male lead vocal. Framed around a breakup, it plays sexy and defiant rather than wounded, making it the natural fit for attitude-driven cutting.
A 140bpm E minor stomp-and-clap groove with dirty electric guitar, dobro twang and synth grit under a hard-hitting drum kit. Confident outlaw swagger from the top, built for entrances and confrontations rather than slow-burn tension.
Slow-burning anthemic swagger at 75bpm in D, layering electric guitar, organ, synth, trailer drums and claps under a soulful male vocal with group backing. Compact at 1:50 and the slowest tempo on the album's aggressive side, so it lands as heavy and deliberate.
Bluesier and grittier than its neighbours, pairing distorted guitar and a low drone with beat, claps, piano and a soulful male lead plus group backing vocals. At 103bpm in A it sits in a mid-tempo swagger groove that suits montage more than sprint.
A slow-swaggering 85bpm blues rocker in A minor fronted by a female lead vocal, with crunchy electric guitar, thick bass and heavy backbeat drums. Sultry and self-assured rather than aggressive, the longest cue on the set at nearly four minutes, with room for extended guitar attitude between vocal lines.
The album's vocal-led cut: male lead vocals over grinding distorted guitar, heavy beat and claps at a swaggering half-time 76 BPM in E minor. Angst and cocky bravado in equal measure, best where you want the song itself to be part of the scene rather than a bed under dialogue.
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.
At 75 BPM in Em this is the longest and most brooding of the slow struts, with pulsing distorted guitar, bass, organ colour, claps and wordless vocal ahhs. Its 2:39 length and aggressive edge suit a longer build toward a competitive reveal.
Rock-pop at 130 BPM in A minor with distorted guitar, claps, synth and strings adding scale to the riff. The title's face-off tension is carried by drive rather than dissonance, so it works as confrontation music that still feels fun.
Fully instrumental at 98bpm in D, with electric guitar, bass, beat, claps, piano and an underlying drone carrying the swagger with no vocals at all. That makes it the most flexible bed on the album for narration or commentary over sports and competition footage.
A grinding 84 BPM half-time cut in A minor — heavy beat, distorted riff and claps, gritty and angst-heavy with no melodic sweetener. Slow enough to leave gaps between hits, making it useful under voiceover or as a brooding intro before a faster cue takes over.
An instrumental-leaning cut with no lead vocal, only backing oohs and aahs over heavy electric guitar, bass, claps and beat at 80bpm in E. The slowest of the aggressive tracks and the longest at 2:44, its lack of a lead line leaves usable room for narration.