53 cues
A mid-tempo 110bpm A minor hybrid: full beat and 4/4 kick with growling bass and arpeggio, but filed as underscore, so it keeps a soundtrack function under picture. The airier title suggests wide, cold synth atmosphere over the pulse — suited to aerial or network-scale imagery.
Techno and trap elements meet trailer drums at 100bpm in D# minor, with driving 4/4 kick, arpeggiated synth lines, distorted guitar and prominent glitch sound design. The most futuristic and superhero-flavoured cue here, leaning sci-fi rather than street.
Slightly slower at 114bpm and set in G minor, this trance-leaning corporate cue pairs a four-on-the-floor kick with arpeggiated synths and a simple bassline, keeping the tone measured and institutional. The darker key gives it a more cautious, finance-desk feel than the album's brighter cuts.
A tighter, faster 126bpm A minor track where the 4/4 kick and distorted bass sit under a cold, mechanical arpeggio — the title's suspended-animation idea reads as relentless machine motion rather than stillness. Its three-minute length and steady drive make it a good bed for procedural or lab-based footage.
At 6:22 the shortest and most direct of the group, a 123bpm house groove in G where chopped vocal samples and FX sit over arpeggiated synths, sub bass and a steady club kick. The title's record-culture nod fits crate-digging, DJ-booth and vinyl-store visuals as well as general upbeat lifestyle cutting.
The album's longest cut and its title statement: a 124bpm progressive trance build in A minor over a steady 4/4 kick, layered arpeggios and a warm rolling bassline, with processed female vocal samples used as texture rather than lead. Its 5:27 length gives room for a long hypnotic intro, a breakdown and a full-energy return, making it the go-to for extended club sequences.
A 124bpm F major techno cue built on a steady 4/4 kick, bass and percussion with processed vocal samples adding an airy, mysterious top layer. Brighter and more soaring than the minor-key tracks around it, holding a club pulse across four minutes.
The album's fastest and longest cut: a 120bpm four-on-the-floor techno groove in C with a driving bassline, looping synth arpeggios and female vocal presence stretched across nearly six minutes. Built for a peak-hour club floor — the title's swagger suits sweaty crowd shots, strobes and slow-motion bodies rather than an intro or a comedown.
The darkest and most aggressive piece here, a 128bpm tech-trance driver in F minor with a hard 4/4 kick, sinister minor-key arpeggios, growling bass and chopped female vocal FX. Sustains menace across five minutes for footage that needs threat as well as momentum.
The longest cue on the set at 7:20, a 124bpm progressive deep house build in F# driven by four-on-the-floor drums, rolling bass and layered arpeggios with no vocal samples, leaving the synth work to carry it. The extended runtime gives room for a long DJ-style intro and gradual filter opens, suiting after-dark footage that needs to travel.
Tribal-leaning club track at 120 BPM in G#m, where layered percussion and chanted vocal samples sit on top of the 4/4 kick and synth bass. The percussion emphasis and 7:20 runtime make it the most rhythm-forward, uplifting cue on the album.
Tough, mechanical four-minute dance remix — the title points to a harder, more skeletal groove of dry drum programming and repeating synth figures. Cool and sexy in feel, with more grit than the cheerful cues on the album. Works for street fashion, tuner-car edits and gritty club interiors.
The most feel-good cue here: a 120bpm A minor house groove with 4/4 kick, claps, piano and strings giving it warmth rather than menace. Positive and slightly sultry, suited to lifestyle footage more than hard sport.
At 117bpm in D this is the shortest and most compact piece here, a dark, moody techno cut with a thumping 4/4 kick, arpeggiated synth lines and female vocal colour. The confrontational title fits a villain's entrance, a tense club standoff or a chase through neon-lit streets.
A 123bpm deep house track in F# running a full seven minutes, with vocal samples and FX threaded through arpeggios, warm bass and tight club drums. The playful title points to the lighter, more tongue-in-cheek end of the EP — good for glossy, unserious lifestyle content rather than heavy peak-time drama.
A 128bpm C minor tech-trance groove with a hypnotic, slightly psychedelic edge, driven by an insistent 4/4 kick, filtered arpeggios, rubbery bass and abstract female vocal fragments. Sits between the club-friendly and darker material on the album, useful for scenes of altered states or long night sequences.
Techno-leaning remix with a metronomic kick, arpeggiated synth lines and machine-precise programming, cooler and more clinical than the house-flavoured tracks on the album. Just under four minutes and built for looping repetition. Strong under technology footage, robotics, hacker sequences and future-facing brand work.
A 123bpm A minor trance cue, the longest on the album at 4:21, built from piano, layered synths, percussion and a persistent 4/4 kick. Mysterious at the outset and increasingly soaring, giving it room for a long-form build.
The male-vocal centrepiece of the set, at 122bpm in F, pairing a haunting, insistent lyric hook with a relentless kick and arpeggiated synths. The refusal in the title gives it an obsessive, clinging edge — good for a toxic-relationship storyline, a stalker sequence or a defiant closing-time dance floor.
At 120bpm in F minor this is the most restrained groove on the record — instrumental, no vocal samples, built on a steady kick, sequenced arpeggio and a deep bassline with a slightly eastern, wide-open feel implied by the title. The absence of vocal hooks and the tighter 4:11 edit make it usable under narration or dialogue.
Techno-forward cue with squelching acid-style synth lines over a hard, repetitive kick and hi-hat pattern, sitting in a sultry, shadowy register. Eight minutes of loop-based development make it a workhorse bed for long visual sequences rather than a cue with a single dramatic arc.
A 118bpm groove in C, mid-pack in tempo but nearly six minutes long, with a steady 4/4 kick, cycling arpeggios and female vocal texture over a moody bass foundation. The dismissive title and the length make it a good bed for long-form club footage or an extended driving sequence.
The darkest cut here — a menacing, mysterious club groove with low synth bass and shadowy pads over a driving beat, tagged dark where the rest of the album is fun. At 3:46 it works as both a floor track and a tension-forward underscore. Suits crime drama, illicit nightlife, heist prep and gritty investigative documentary.
Instrumental deep techno at 122bpm in D flat, tying with the album's fastest tempo but with no vocal, leaving the arpeggios and pounding kick to carry it. The title's abruptness suits a sequence heading toward a hard cut or a sudden reveal, and the lack of a vocal lead makes it easy to talk or edit over.
The only major-key cue on the album, a bright 128bpm progressive trance ride in E with punchy 4/4 kick, uplifting arpeggios and repeated female vocal samples that suit the looping title phrase. Euphoric rather than dark — the peak-time, hands-in-the-air option.
Brooding electronic groove with a patient, ominous build — low synth bass, muted percussion and gradually widening pads that suggest something approaching. The shortest of the mysterious cuts at 7:49, so it reaches its payoff sooner than its neighbours.
Driving 122 BPM progressive house in F#m that pairs a euphoric synth lift with clipped vocal samples and a hypnotic bass pulse. At 7:14 it's a full club arrangement with room for a long climb into the drop, suiting footage that needs momentum sustained over minutes rather than seconds.
Loose, hedonistic club groove with pulsing bass and synth hooks, the longest cue here at 4:13 so it sustains extended party sequences without looping. Cool and playful rather than aggressive, implying the tail end of a long night. Suits after-hours footage, house-party montages and reality-show party recaps.
A stripped-back peak-time roller at 122 BPM in Am, working purely from 4/4 kick, synth and bass with no vocal samples to compete for attention. Its 7:14 instrumental build makes it the cleanest bed on the album for dialogue or narration over club energy.
Big-room house remix with a broad synth-led hook and steady kick-and-hat propulsion, named for the classic superclub brand and behaving accordingly. Four minutes of straight-ahead dance floor energy with predictable build-and-drop structure for editors. Ideal for arena club footage, dance compilation promos and youth-brand advertising.
Dark 122bpm progressive tech-trance in C minor, a shade slower and moodier than the album's peak-time cuts, with pulsing bass, layered arpeggios and sparse female vocal samples used as atmosphere. The four-minute runtime makes it an efficient underscore for tense night footage.
The title cue and the darkest of the faster tracks: 119 BPM in F#m with brooding synths, sparse vocal samples and a relentless 4/4 kick and bass pulse. Over 7:25 it stays moody and hypnotic rather than euphoric, holding tension across long sequences.
122bpm house in F across 7:06, instrumental apart from synth lines — arpeggios, deep bass and steady club drums with no vocal samples to compete with a narrator. The sleek title matches its smooth, textural feel, and the long form plus lack of vocal hooks make it the most usable bed here for talk-over.
A 120bpm D minor instrumental groove, the album's most laid-back progressive tech-house lean — solid 4/4 kick, sultry bassline and repetitive arpeggios with no vocal layers. Sexy and steady rather than climactic, good for scenes that need pulse under conversation.
Anthemic one-night-only club remix with rolling kick, synth chords and a hook that trades on romantic urgency. At 4:08 it has space for an extended breakdown before the final push. Good for holiday-romance montages, nightlife drama and dance-floor meet-cutes.
Hard-edged 128bpm tech-trance in C minor, aggressive and dark, built on a heavy 4/4 kick, biting synth arpeggios, distorted bass and cut-up female vocal FX. Confrontational and relentless where the album's other C minor cue is more hypnotic.
A lean 120bpm A minor techno cue with 4/4 kick, claps, percussion, bass and synths and no piano — more machine-driven and industrial than its neighbours. The shortest of the beat-led tracks at 3:50, moody early and soaring by the end.
Long-form club cue built on four-to-the-floor house kick, filtered synth pads and trance-leaning arpeggios, with an emotional lift under the mystery. At 9:26 it has room for a slow intro, a full breakdown and a sustained peak, so it can be edited to almost any length.
The title cue: 122bpm progressive deep house in D, 6:28, built from liquid arpeggio patterns, rounded bass, vocal samples and FX over a metronomic house kit. The lowest tempo of the set gives it a slightly cooler, more hypnotic pulse that loops well behind dialogue-free visuals.
A 126bpm instrumental in F# minor with a cold, sci-fi character — precise arpeggio patterns, a dark synth bass and unwavering 4/4 kick, no vocal samples. Its clean, melodic-but-wordless build suits abstract geometry, space and futuristic imagery.
A compact 122bpm instrumental in D minor with a darker cast: mechanical arpeggios, driving four-on-the-floor kick and a tight bass pulse, no vocal elements. At just over four minutes and without a vocal lead, it works cleanly as a bed for technology and data-driven visuals.
Hard-edged club remix built on an insistent kick and abrasive synth stabs, cool and sexy without the album's lighter party tone. Four minutes of relentless forward drive suitable for long action or performance cuts. Fits extreme sports, stunt footage and confrontational fashion imagery.