Vocal Hip Hop and Rap Songs

Trap cut in A minor with heavy 808 bass, hi-hat rolls, pads and keys, plus male vocal ad-lib style samples and effects. Dark and modern, it holds a steady swaggering plateau rather than building to a peak.

Mid-tempo 90s-styled hip hop in G minor with a fat programmed beat, rolling bass, clean electric guitar licks and a saxophone line over confident male rap vocals. The feel is celebratory and sexy rather than hard — a good-times club groove that lands cleanly at the end. Best for lifestyle footage where the lyric can carry the scene.

The fastest cue here at 130bpm in D minor, pairing a heroic string and brass theme with trap-leaning drums and a confident male rap performance. Title and tempo push it toward a coronation or takeover feel — rising to a triumphant, resolved finish.

A 95bpm A minor boom-bap cut with laid-back drums, round bass, piano figures and a flute line threaded over the top, fronted by male rap vocals. Sly and flirtatious rather than hard, with a warm summer swagger that suits night-time street footage.

The companion single at 100 BPM in C major — faster and brighter than its A minor counterpart, with synth lines layered over the 808 and beat foundation and the same assertive female vocal. The major key and best-friend title push it toward playful, celebratory togetherness rather than pure club menace. Works for footage of friends out on the town, getting ready, or riding together.

The hardest and shortest cut here: 94 BPM in E minor, heavy laid-back beat, thick bass and gritty electric guitar under a swaggering male rap. Smoke-filled, bad-ass and unapologetically street, with drug-culture connotations in the title and hook.

Title cue of the set: a chilled, moody trap groove in G# minor built on 808 sub-bass, crisp claps and a laid-back programmed beat under autotuned male raps and hooks. At 160 BPM the half-time feel keeps it relaxed rather than aggressive, landing on a clean end.

The most club-facing track here: 98bpm in D minor, driven by its bass figure and synth stabs under male rap vocals. Short and punchy at 2:14, it lands as a party opener or a quick high-confidence transition.

The most upbeat track on the record at 120 BPM in F# minor, with a driving beat, bouncy bass and bright electric guitar behind a playful, motivated male rap. Optimistic and youthful in tone, aimed squarely at teen and high-school energy and a get-it-done attitude.

Harder and more confrontational than the rest of the EP — 87bpm in D minor with heavy beat and bass, horn punctuation and strings adding menace behind aggressive male rap. Suits confrontation, training sequences or footage that needs bite.

The most overtly West Coast track here — a slow-rolling 148 BPM beat in D# minor with heavy 808s, dry claps and autotuned male vocals about money and phone calls. At 3:35 it is the longest of the mid-tempo cuts, giving room for a full verse-hook-verse edit.

The lightest cut on the record: A minor, 153 BPM, with an organ line threaded through the 808s and claps for a playful, slightly comic lift under the autotuned rap. Shortest of the full-length songs at 2:19, so it edits fast.

A reggae-leaning hip hop hybrid at a fast 160 BPM in E minor, with skipping drums, fat bass, electric guitar and a raunchy Caribbean-flavoured male rap. Loose, sweaty and club-ready — the most rhythmically distinct cue on the album and the shortest of the set.

The soul-leaning centrepiece and longest cut at 2:40, in a bright A major at 90bpm, with Rhodes and Hammond keys, strings and saxophone over a relaxed beat and bass — closer to R&B than straight rap. Smooth, sexy and cool, good for slow-motion glamour or a rooftop summer scene.

Piano-led and the most wistful of the group — soft chordal figures in C minor over 808 sub-bass and claps, with autotuned male vocals sitting back in the mix. The 136 BPM pace makes it the slowest-feeling of the mid-tempo songs, suited to reflective rather than flexing footage.

An 87bpm groove in G major built on beat, bass and string lines, with a playful, party-minded male rap on top. The brightest and most fun-spirited track on the EP, easy behind friends-having-fun visuals and summer event footage.

At 110 BPM and nearly five minutes, this is the slowest and by far the longest piece on the album — a hazy synth-and-808 bed in C# minor with claps and heavily autotuned male vocals. Its length makes it usable as an extended background music source cue rather than a short montage bed.

A smooth 107 BPM groove in C minor built on beat, bass, electric guitar and keys, with a confident male rap and a romantic, flirtatious slant to the title and hook. Feel-good and slightly softer than the rest of the EP thanks to the keyboard bed, closing on a resolved ending.