46 cues
At 90bpm in G major this is the album's warmest and fullest cue, adding strings, drums and percussion to the acoustic guitar, drone and chanted male vocals. The arc is openly emotional — heartfelt and hopeful with a somber undertow — and at 3:07 it has room to grow before it settles. Fits reunion scenes, memorial tributes, romantic drama and long-form brand storytelling.
Shares the 120 BPM C major, guitar-and-synth pop build of its neighbour but runs slightly tighter at 2:30, making it the cleaner fit for a fixed 30-second or 2:30 edit. Confident, arrival-flavoured energy with clap-driven momentum and vocal sample colour — footage of arriving, belonging, or reaching the goal.
The warmest and most romantic track on the album: 119bpm in E minor, with electric guitar added over the 4/4 kick, synth bass and glitched vocal chops. Emotional and love-leaning rather than purely club-driven, so it fits couple footage, golden-hour beach scenes and relationship-focused storytelling.
The fastest and shortest track on the set at 117bpm, in A flat major for a glossy, upbeat lift over its punchy 4/4 kick, bass and layered synths. Tight 2:08 length makes it the natural pick for a short-form fashion or holiday edit needing immediate momentum.
The slowest and longest cue here at 80 BPM in D, 3:42, pairing acoustic guitar and piano with bass and cello behind an intimate vocal. Reflective and vow-like, it moves from quiet introspection to heartfelt warmth and works for ceremony footage, remembrance or a slow emotional reveal.
A mid-tempo indie dream pop song in C built on kit drums, warm bass and hazy synth pads under a lead male vocal. The tone is confessional and slightly moody — an admission of feeling rather than a declaration — and it stays intimate rather than anthemic across its three minutes.
The longest cue on the set at 4:30, moving at 94bpm in E with acoustic guitar and dobro over shaker and a full drum kit, cello and strings widening the middle section. Its length gives room for a slow-burn journey structure — searching, then settling, with airy background vocals carrying the payoff.
A sunlit acoustic-pop song at 120 BPM in F major, with strummed guitar over a programmed beat, warm bass and light synth padding under a male lead vocal. The mood is flirtatious and feel-good throughout, romantic rather than dramatic, and it holds its major-key lift to the end — an easy fit for summer romance, beachside brand films and lifestyle reels.
The album's title track and its most club-facing moment: 111bpm in B flat minor with pulsing arpeggios, punchy vintage drums and a male vocal hook, leaning toward EDM-sized synthwave. Emotional but driving, suited to relationship storylines played out under neon.
A 120bpm house-pop cue in A minor built on four-to-the-floor beat, funky bass and synth stabs, with male and female vocal lines and processed vocal styling carrying the hook. The minor key gives it a slightly wistful edge under the party energy, making it useful where celebration and sentiment sit together.
Mendelssohn's Second Quartet stretched over eight minutes of early-romantic writing, with long-breathed violin melody, questioning inner voices and a wider emotional swing than the Canzonetta. Sombre passages give way to warmth before it resolves. Works for romantic period drama, letters-and-memory sequences and reflective biographical documentary.
A flirtier, more playful lofi groove at 135 BPM in D#, with electric guitar licks over dusty beat, bass, piano and synth pads, topped by a male vocal. Lighter and sexier than the album's introspective tracks, good for footage with a hint of chase or anticipation.
B flat minor felt piano at a slightly relaxed 110, nostalgic and distant in keeping with a title that looks a long way back. Two minutes of intimate, softly damped playing with plenty of air around the notes, ideal for archive photographs and memory sequences.
Mid-tempo indie folk at 100bpm in B, built on acoustic guitar and mandolin with piano, electric guitar textures and a steady four-on-the-floor kick under wordless background vocals. It moves from reflective and intimate toward an orchestral-drum lift, making it a natural fit for hopeful brand storytelling or a quiet outdoor sequence that opens out.
Aspirational electro-folk at 115bpm in B major, with acoustic and electric guitar over synth and a steady four-on-the-floor beat, topped by male lead and harmony vocals. The bright major key makes this the most straightforwardly triumphant of the uptempo cues.
A warm 122 BPM indie folk song in C built on strummed acoustic guitar, bass and a straightforward drum kit under a male lead vocal, with an ambient opening that fills out into a heartfelt full-band chorus. The shortest of the guitar-led songs here, it keeps a hopeful, homespun feel rather than a big synth lift. Fits engagement and wedding films, small-town or family storytelling, and outdoor lifestyle brand spots.
A slow-burning 93bpm synthwave cut in bright F# major, built on vintage drum machine, round analogue bass and arpeggiated synth layers under a male vocal lead. The major key and unhurried tempo give it a warm, romantic retro sheen rather than a menacing one, and at just over four minutes it has room to open out.
Solo felt piano in A flat minor, moving at a steady 118 with the softened, close-miked attack that muffles the hammers and leaves the room tone audible. The longest cue on the record, it has space to develop from a single repeated figure into a fuller, more hopeful statement, matching its title's sense of an idea taking shape. Suits footage of someone at work alone — sketching, building, writing.
A mid-tempo 92bpm cue in C where mandolin sits alongside acoustic guitar and piano over a full rhythm section of bass and drums, with male vocals and wordless backing harmonies. Intimate and small-scale as the title suggests, warm and grateful rather than sweeping.
Intimate 100 BPM indie pop-rock cue in G minor with piano, guitar, snaps, claps and a restrained drum groove. Romantic and a little serious, and at 2:07 it is the shortest of the album's emotional cuts — good for personal-story advertising.
Slow 74 BPM A minor piano and strings with a wistful, city-at-night quality — the tempo leaves plenty of air between phrases, and orchestral drums stay reserved. More moody and romantic than triumphant, ideal for reflective travel or fashion imagery.
The title track and the fastest song on the album at 190 BPM in C, a short two-minute acoustic folk-pop run with driving strum, shaker, bass and drums plus a full male vocal. Bright, hurrying and joyful, it suits a fast-cut togetherness montage or a wedding reception sequence.
An F minor neoclassical cue at 146bpm carried by piano and strings alone, no percussion, so the momentum comes from the string writing itself. The longest of the mid-album pieces at 3:45, with a hopeful-but-unsettled cast that suits scenes of waiting or anticipation. Suited to drama where a character is holding on to a plan that hasn't happened yet.
The album's title cue and its slowest piece at 78bpm in E, with piano and electric guitar floating over pads, bass and unhurried rock drums with angelic background vocals. Calm and romantic throughout, it holds a wide nocturnal stillness rather than pushing hard, suiting first-light landscape footage or a tender two-person scene.
The most stripped cue here: acoustic guitar and shaker only, with male vocals, at a relaxed 88 BPM in C. Introspective and chill, it stays intimate for its full two minutes rather than building to a peak. Good for reflective voiceover-adjacent sequences, quiet nature footage and slow-life brand storytelling.
The shortest and most stripped cue here — no piano or guitar listed, just synth pads, vocal samples and a relaxed 106bpm beat in E major. Its confident, upbeat title and lean arrangement make it useful as a bed under narration or a quick 2:43 cutdown.
One of only two major-key cues here: G major at 126bpm, piano with violin, viola and cello, warmer and less shadowed than the minor-key material around it. The late-evening title fits domestic night footage, a city winding down, or a gentle resolution after tension. Under three minutes, tidy and easy to place.
Future bass at 132 BPM in B major with a female lead vocal riding over pitch-bent synth chords and a halftime trap-leaning beat. Bright and romantic rather than aggressive, with a hook-driven lift that suits fashion and lifestyle cutting. Best where a sung topline is wanted front and centre.
A mid-tempo acoustic folk-pop song at 90 BPM in F, built on strummed acoustic guitar, electric guitar fills, claps, bass and drums under a warm male lead vocal. The mood is affectionate and slightly longing, sweet rather than sentimental, and it sits comfortably under wedding footage or a caring brand story.
Warm, feel-good acoustic pop at 90bpm in E major driven by guitar, piano, shakers, percussion and a full drum kit under male vocals with harmony backing. Positive and forward-moving without hurry — a natural fit for progress and fresh-start narratives.
The slowest cue here at 85bpm in C, with slide guitar over acoustic strums, handclaps, strings and a steady 4/4 kick, and wordless backing vocals instead of a lead. Its relaxed sway feels warm and hearth-like, ideal for tender, feel-good imagery.
Mid-tempo indie synthpop at 116 BPM in E flat, pairing piano and warm synth pads with bass, kit drums and a male vocal that turns the track optimistic and open-skied as it develops. At just over three minutes it has room for a proper ambient intro and an uplifting final section. Suits sunrise and horizon footage, corporate hope pieces, and romantic road-trip sequences.
Half-time 87 BPM future bass in D, moodier and more sensual than the album's dance cuts: soft trap-leaning beat, pitched vocal glitches and a thick sub bass. Sits in a slow, romantic groove for over three minutes without ever going full EDM.
The EP's slowest cue at 78bpm, guitar-free and built from beat, bass and synth in E flat, with a moody, somber undertow beneath the romantic pop sheen. Emotional and half-time, suited to a reflective beat before the story resolves.
Bright, mid-tempo acoustic pop in C major built on guitar, piano, mandolin and ukulele over a steady 4/4 beat, with warm male lead and stacked harmonies. Reassuring and corporate-friendly, it reads as everything-is-fine optimism.
Fast, bright electro-pop at 130 BPM in A minor built on a clap-driven beat and bubbly synths behind a female lead vocal. Short and radio-shaped at 2:44, playful and slightly quirky, aimed at teen and young-adult infatuation — good for fashion content, Valentine's promos and high-school flirtation scenes.
A 121 BPM F major strummer built on acoustic guitar, mandolin and piano with bass and drums and wordless vocal stylings, no electric guitar to thicken it. Airy and playful rather than rock-weighted. Fits sunny commercial montage, cooking and craft content and light-hearted travel footage.