Songs like Bunsen Burner by CUTS
Based on a tempo of (+/- 10%) and a similar genre
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John Carpenter
Night
95 bpm • C min • 03:38 • -15db
37% Popularity • 57% Danceability • 28% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
37% Popularity • 57% Danceability • 28% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
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Kyle Dixon & Michael Stein
A Kiss
95 bpm • D# Maj • 01:25 • -18.45db
37% Popularity • 51% Danceability • 21% Energy • 11% Liveness
97% Instrumentalness • 36% Positiveness
37% Popularity • 51% Danceability • 21% Energy • 11% Liveness
97% Instrumentalness • 36% Positiveness
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Cristian Sandquist
Outer Marker
95 bpm • A Maj • 02:27 • -13.95db
13% Popularity • 43% Danceability • 50% Energy • 13% Liveness
90% Instrumentalness • 14% Positiveness
13% Popularity • 43% Danceability • 50% Energy • 13% Liveness
90% Instrumentalness • 14% Positiveness
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Mica Levi
Love
95 bpm • D min • 05:10 • -18db
43% Popularity • 12% Danceability • 20% Energy • 10% Liveness
72% Instrumentalness • 4% Positiveness
43% Popularity • 12% Danceability • 20% Energy • 10% Liveness
72% Instrumentalness • 4% Positiveness
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James Newton Howard
Nightcrawler
95 bpm • D Maj • 01:58 • -16.9db
22% Popularity • 26% Danceability • 18% Energy • 9% Liveness
61% Instrumentalness • 7% Positiveness
22% Popularity • 26% Danceability • 18% Energy • 9% Liveness
61% Instrumentalness • 7% Positiveness
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M83
Waking Up
96 bpm • C min • 04:09 • -13db
48% Popularity • 40% Danceability • 50% Energy • 15% Liveness
87% Instrumentalness • 15% Positiveness
48% Popularity • 40% Danceability • 50% Energy • 15% Liveness
87% Instrumentalness • 15% Positiveness
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CUTS
Bunsen Burner
95 bpm • C min • 04:02 • -12.73db
35% Popularity • 12% Danceability • 26% Energy • 8% Liveness
83% Instrumentalness • 4% Positiveness
35% Popularity • 12% Danceability • 26% Energy • 8% Liveness
83% Instrumentalness • 4% Positiveness
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Lorn
Vestige I
94 bpm • F min • 02:01 • -15.12db
41% Popularity • 58% Danceability • 71% Energy • 27% Liveness
90% Instrumentalness • 3% Positiveness
41% Popularity • 58% Danceability • 71% Energy • 27% Liveness
90% Instrumentalness • 3% Positiveness
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Lovett
Infinite Number
96 bpm • B Maj • 01:41 • -16.02db
7% Popularity • 21% Danceability • 16% Energy • 11% Liveness
93% Instrumentalness • 5% Positiveness
7% Popularity • 21% Danceability • 16% Energy • 11% Liveness
93% Instrumentalness • 5% Positiveness
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Mac Quayle
1.4_2-impenetrable.sd2
94 bpm • G# Maj • 02:23 • -8.96db
31% Popularity • 54% Danceability • 88% Energy • 14% Liveness
88% Instrumentalness • 61% Positiveness
31% Popularity • 54% Danceability • 88% Energy • 14% Liveness
88% Instrumentalness • 61% Positiveness
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Underworld
Capa's Last Transmission Home
94 bpm • D Maj • 02:12 • -23.81db
34% Popularity • 35% Danceability • 6% Energy • 8% Liveness
80% Instrumentalness • 4% Positiveness
34% Popularity • 35% Danceability • 6% Energy • 8% Liveness
80% Instrumentalness • 4% Positiveness
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Hans Zimmer
Where We're Going
96 bpm • C Maj • 07:41 • -23.51db
52% Popularity • 23% Danceability • 2% Energy • 37% Liveness
95% Instrumentalness • 3% Positiveness
52% Popularity • 23% Danceability • 2% Energy • 37% Liveness
95% Instrumentalness • 3% Positiveness
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Daft Punk
Armory
96 bpm • F min • 02:02 • -23.95db
39% Popularity • 38% Danceability • 5% Energy • 12% Liveness
92% Instrumentalness • 3% Positiveness
39% Popularity • 38% Danceability • 5% Energy • 12% Liveness
92% Instrumentalness • 3% Positiveness
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Wojciech Golczewski
He Comes
94 bpm • E Maj • 04:49 • -13.42db
19% Popularity • 62% Danceability • 50% Energy • 19% Liveness
80% Instrumentalness • 3% Positiveness
19% Popularity • 62% Danceability • 50% Energy • 19% Liveness
80% Instrumentalness • 3% Positiveness
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Lovett
Kmc014
96 bpm • B Maj • 02:07 • -18.51db
23% Popularity • 49% Danceability • 39% Energy • 13% Liveness
90% Instrumentalness • 7% Positiveness
23% Popularity • 49% Danceability • 39% Energy • 13% Liveness
90% Instrumentalness • 7% Positiveness
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Mac Quayle
2.8_2-ph4se.vox
96 bpm • A# min • 04:43 • -20db
27% Popularity • 42% Danceability • 17% Energy • 12% Liveness
92% Instrumentalness • 3% Positiveness
27% Popularity • 42% Danceability • 17% Energy • 12% Liveness
92% Instrumentalness • 3% Positiveness
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Vangelis
Tears in Rain
96 bpm • C Maj • 03:00 • -25.26db
48% Popularity • 21% Danceability • 16% Energy • 35% Liveness
76% Instrumentalness • 4% Positiveness
48% Popularity • 21% Danceability • 16% Energy • 35% Liveness
76% Instrumentalness • 4% Positiveness
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Symmetry
The Magician
93 bpm • B min • 04:00 • -12.24db
27% Popularity • 62% Danceability • 71% Energy • 11% Liveness
70% Instrumentalness • 4% Positiveness
27% Popularity • 62% Danceability • 71% Energy • 11% Liveness
70% Instrumentalness • 4% Positiveness
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Ben Salisbury
Falling
93 bpm • G# Maj • 05:36 • -30db
26% Popularity • 21% Danceability • 2% Energy • 7% Liveness
93% Instrumentalness • 4% Positiveness
26% Popularity • 21% Danceability • 2% Energy • 7% Liveness
93% Instrumentalness • 4% Positiveness
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S U R V I V E
Hourglass
92 bpm • D# min • 04:30 • -8.08db
41% Popularity • 58% Danceability • 83% Energy • 10% Liveness
87% Instrumentalness • 30% Positiveness
41% Popularity • 58% Danceability • 83% Energy • 10% Liveness
87% Instrumentalness • 30% Positiveness
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Erasmus Talbot
Frameshift & Starports: Frameshift Suite...
92 bpm • D min • 04:01 • -19.18db
24% Popularity • 22% Danceability • 22% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
24% Popularity • 22% Danceability • 22% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
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Mac Quayle
405.3 Thumb CAD
93 bpm • C Maj • 03:07 • -8.73db
27% Popularity • 60% Danceability • 65% Energy • 6% Liveness
94% Instrumentalness • 29% Positiveness
27% Popularity • 60% Danceability • 65% Energy • 6% Liveness
94% Instrumentalness • 29% Positiveness
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Vangelis
Blush Response
97 bpm • D Maj • 05:46 • -19.52db
43% Popularity • 21% Danceability • 30% Energy • 35% Liveness
36% Instrumentalness • 8% Positiveness
43% Popularity • 21% Danceability • 30% Energy • 35% Liveness
36% Instrumentalness • 8% Positiveness
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Paul Haslinger
Load Out
92 bpm • E min • 01:44 • -13db
32% Popularity • 43% Danceability • 42% Energy • 10% Liveness
78% Instrumentalness • 4% Positiveness
32% Popularity • 43% Danceability • 42% Energy • 10% Liveness
78% Instrumentalness • 4% Positiveness
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Ben Salisbury
Out
99 bpm • B min • 02:02 • -20db
39% Popularity • 49% Danceability • 11% Energy • 10% Liveness
90% Instrumentalness • 2% Positiveness
39% Popularity • 49% Danceability • 11% Energy • 10% Liveness
90% Instrumentalness • 2% Positiveness
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Kai Engel
Augmentations
99 bpm • B min • 01:54 • -16.2db
16% Popularity • 43% Danceability • 61% Energy • 11% Liveness
96% Instrumentalness • 19% Positiveness
16% Popularity • 43% Danceability • 61% Energy • 11% Liveness
96% Instrumentalness • 19% Positiveness
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M83
Earth 2077
99 bpm • D min • 02:22 • -10.66db
38% Popularity • 22% Danceability • 54% Energy • 12% Liveness
88% Instrumentalness • 5% Positiveness
38% Popularity • 22% Danceability • 54% Energy • 12% Liveness
88% Instrumentalness • 5% Positiveness
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Ryan Taubert
Everyone
99 bpm • C min • 02:43 • -16.87db
18% Popularity • 40% Danceability • 34% Energy • 14% Liveness
95% Instrumentalness • 13% Positiveness
18% Popularity • 40% Danceability • 34% Energy • 14% Liveness
95% Instrumentalness • 13% Positiveness
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Michael McCann
Main Menu
99 bpm • G min • 01:50 • -22.58db
40% Popularity • 13% Danceability • 28% Energy • 9% Liveness
88% Instrumentalness • 10% Positiveness
40% Popularity • 13% Danceability • 28% Energy • 9% Liveness
88% Instrumentalness • 10% Positiveness
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West Dylan Thordson
Kevin Wendell Crumb
100 bpm • F min • 02:41 • -28db
40% Popularity • 13% Danceability • 6% Energy • 11% Liveness
86% Instrumentalness • 3% Positiveness
40% Popularity • 13% Danceability • 6% Energy • 11% Liveness
86% Instrumentalness • 3% Positiveness
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Paul Leonard-Morgan
Mega City One
100 bpm • G Maj • 03:13 • -15.31db
27% Popularity • 27% Danceability • 40% Energy • 13% Liveness
84% Instrumentalness • 6% Positiveness
27% Popularity • 27% Danceability • 40% Energy • 13% Liveness
84% Instrumentalness • 6% Positiveness
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Secession Studios
Mentality
100 bpm • G# Maj • 04:10 • -15.52db
23% Popularity • 43% Danceability • 52% Energy • 11% Liveness
59% Instrumentalness • 3% Positiveness
23% Popularity • 43% Danceability • 52% Energy • 11% Liveness
59% Instrumentalness • 3% Positiveness
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M83
StarWaves
99 bpm • G# Maj • 03:41 • -12.71db
52% Popularity • 32% Danceability • 18% Energy • 10% Liveness
84% Instrumentalness • 4% Positiveness
52% Popularity • 32% Danceability • 18% Energy • 10% Liveness
84% Instrumentalness • 4% Positiveness
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Daft Punk
The Game Has Changed
100 bpm • C# min • 03:25 • -14.75db
43% Popularity • 54% Danceability • 51% Energy • 11% Liveness
73% Instrumentalness • 7% Positiveness
43% Popularity • 54% Danceability • 51% Energy • 11% Liveness
73% Instrumentalness • 7% Positiveness
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Forest Swords
Hood - Bonus Track from the Announcement...
100 bpm • C Maj • 01:30 • -18.77db
35% Popularity • 64% Danceability • 14% Energy • 10% Liveness
84% Instrumentalness • 4% Positiveness
35% Popularity • 64% Danceability • 14% Energy • 10% Liveness
84% Instrumentalness • 4% Positiveness
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David Wingo
Midnight Special Theme
100 bpm • C Maj • 02:34 • -24.19db
25% Popularity • 23% Danceability • 12% Energy • 11% Liveness
82% Instrumentalness • 4% Positiveness
25% Popularity • 23% Danceability • 12% Energy • 11% Liveness
82% Instrumentalness • 4% Positiveness
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Paul Leonard-Morgan
She's a Pass
100 bpm • C# Maj • 03:16 • -8.53db
28% Popularity • 52% Danceability • 75% Energy • 18% Liveness
70% Instrumentalness • 26% Positiveness
28% Popularity • 52% Danceability • 75% Energy • 18% Liveness
70% Instrumentalness • 26% Positiveness
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Hildur Guðnadóttir
The Door
100 bpm • B Maj • 02:43 • -17db
32% Popularity • 52% Danceability • 33% Energy • 37% Liveness
92% Instrumentalness • 9% Positiveness
32% Popularity • 52% Danceability • 33% Energy • 37% Liveness
92% Instrumentalness • 9% Positiveness
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Ludwig Göransson
PRIYA
100 bpm • C min • 03:23 • -24db
38% Popularity • 20% Danceability • 12% Energy • 11% Liveness
91% Instrumentalness • 3% Positiveness
38% Popularity • 20% Danceability • 12% Energy • 11% Liveness
91% Instrumentalness • 3% Positiveness
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Éric Serra
Tingjhou Hospital
100 bpm • C# Maj • 01:56 • -24.83db
38% Popularity • 73% Danceability • 15% Energy • 11% Liveness
92% Instrumentalness • 10% Positiveness
38% Popularity • 73% Danceability • 15% Energy • 11% Liveness
92% Instrumentalness • 10% Positiveness
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Stilz
Stand Still
100 bpm • F# min • 02:49 • -20.9db
42% Popularity • 36% Danceability • 27% Energy • 10% Liveness
97% Instrumentalness • 11% Positiveness
42% Popularity • 36% Danceability • 27% Energy • 10% Liveness
97% Instrumentalness • 11% Positiveness
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Wojciech Golczewski
Setting Up
100 bpm • C min • 02:08 • -18.73db
34% Popularity • 40% Danceability • 7% Energy • 12% Liveness
86% Instrumentalness • 4% Positiveness
34% Popularity • 40% Danceability • 7% Energy • 12% Liveness
86% Instrumentalness • 4% Positiveness
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Paul Leonard-Morgan
It's All a Deep End
100 bpm • A Maj • 02:20 • -23.24db
13% Popularity • 39% Danceability • 16% Energy • 11% Liveness
12% Instrumentalness • 2% Positiveness
13% Popularity • 39% Danceability • 16% Energy • 11% Liveness
12% Instrumentalness • 2% Positiveness
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HEALTH
SHELLS
100 bpm • C# Maj • 05:28 • -8.25db
26% Popularity • 56% Danceability • 82% Energy • 9% Liveness
85% Instrumentalness • 10% Positiveness
26% Popularity • 56% Danceability • 82% Energy • 9% Liveness
85% Instrumentalness • 10% Positiveness
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Secession Studios
Devour
100 bpm • D Maj • 04:45 • -15.79db
32% Popularity • 43% Danceability • 35% Energy • 8% Liveness
82% Instrumentalness • 3% Positiveness
32% Popularity • 43% Danceability • 35% Energy • 8% Liveness
82% Instrumentalness • 3% Positiveness
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Lorn
Anvil
100 bpm • F# min • 03:29 • -10.77db
53% Popularity • 38% Danceability • 46% Energy • 9% Liveness
84% Instrumentalness • 4% Positiveness
53% Popularity • 38% Danceability • 46% Energy • 9% Liveness
84% Instrumentalness • 4% Positiveness
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Jed Palmer
Serk
100 bpm • A# min • 01:55 • -11.79db
28% Popularity • 57% Danceability • 84% Energy • 8% Liveness
71% Instrumentalness • 4% Positiveness
28% Popularity • 57% Danceability • 84% Energy • 8% Liveness
71% Instrumentalness • 4% Positiveness
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Michael McCann
Detroit City Ambient (Part 1)
90 bpm • C Maj • 02:03 • -22db
36% Popularity • 10% Danceability • 14% Energy • 12% Liveness
96% Instrumentalness • 5% Positiveness
36% Popularity • 10% Danceability • 14% Energy • 12% Liveness
96% Instrumentalness • 5% Positiveness
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Daft Punk
Arena
100 bpm • C# Maj • 01:33 • -13.56db
41% Popularity • 33% Danceability • 42% Energy • 7% Liveness
99% Instrumentalness • 9% Positiveness
41% Popularity • 33% Danceability • 42% Energy • 7% Liveness
99% Instrumentalness • 9% Positiveness
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Plaid
Do Matter
100 bpm • G# Maj • 03:40 • -16.86db
38% Popularity • 52% Danceability • 29% Energy • 11% Liveness
56% Instrumentalness • 28% Positiveness
38% Popularity • 52% Danceability • 29% Energy • 11% Liveness
56% Instrumentalness • 28% Positiveness
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Junkie XL
Always Ready
90 bpm • D min • 05:17 • -12.41db
7% Popularity • 52% Danceability • 38% Energy • 8% Liveness
70% Instrumentalness • 3% Positiveness
7% Popularity • 52% Danceability • 38% Energy • 8% Liveness
70% Instrumentalness • 3% Positiveness
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Paul Leonard-Morgan
Trippy
90 bpm • D min • 03:47 • -10.08db
22% Popularity • 59% Danceability • 51% Energy • 58% Liveness
93% Instrumentalness • 27% Positiveness
22% Popularity • 59% Danceability • 51% Energy • 58% Liveness
93% Instrumentalness • 27% Positiveness
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Sinoia Caves
Evil Ball
90 bpm • G min • 06:06 • -8.25db
12% Popularity • 19% Danceability • 60% Energy • 6% Liveness
87% Instrumentalness • 4% Positiveness
12% Popularity • 19% Danceability • 60% Energy • 6% Liveness
87% Instrumentalness • 4% Positiveness
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Daniel Pemberton
Change The World
90 bpm • F min • 05:09 • -13.82db
27% Popularity • 67% Danceability • 36% Energy • 7% Liveness
91% Instrumentalness • 46% Positiveness
27% Popularity • 67% Danceability • 36% Energy • 7% Liveness
91% Instrumentalness • 46% Positiveness
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Daft Punk
Rinzler
90 bpm • A Maj • 02:17 • -14.68db
42% Popularity • 50% Danceability • 64% Energy • 10% Liveness
85% Instrumentalness • 4% Positiveness
42% Popularity • 50% Danceability • 64% Energy • 10% Liveness
85% Instrumentalness • 4% Positiveness
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Michael McCann
Opening Credits
90 bpm • D min • 02:15 • -12.6db
35% Popularity • 44% Danceability • 63% Energy • 20% Liveness
93% Instrumentalness • 24% Positiveness
35% Popularity • 44% Danceability • 63% Energy • 20% Liveness
93% Instrumentalness • 24% Positiveness
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Chromatics
Tick Of The Clock (Film Edit)
101 bpm • C# Maj • 04:47 • -12.92db
49% Popularity • 85% Danceability • 40% Energy • 10% Liveness
92% Instrumentalness • 12% Positiveness
49% Popularity • 85% Danceability • 40% Energy • 10% Liveness
92% Instrumentalness • 12% Positiveness
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Chrome Canyon
Deckard Returns
90 bpm • C# min • 03:32 • -10.13db
21% Popularity • 27% Danceability • 58% Energy • 11% Liveness
93% Instrumentalness • 31% Positiveness
21% Popularity • 27% Danceability • 58% Energy • 11% Liveness
93% Instrumentalness • 31% Positiveness
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In Mirrors
I Saw Her Face In The Glass
89 bpm • F min • 02:17 • -7.7db
12% Popularity • 25% Danceability • 58% Energy • 8% Liveness
19% Instrumentalness • 8% Positiveness
12% Popularity • 25% Danceability • 58% Energy • 8% Liveness
19% Instrumentalness • 8% Positiveness
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Clark
Back To Belgrade
89 bpm • B min • 03:39 • -17.16db
22% Popularity • 10% Danceability • 40% Energy • 17% Liveness
89% Instrumentalness • 9% Positiveness
22% Popularity • 10% Danceability • 40% Energy • 17% Liveness
89% Instrumentalness • 9% Positiveness
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Clint Mansell
Endless Summer
101 bpm • B Maj • 02:37 • -40.29db
23% Popularity • 14% Danceability • 1% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
23% Popularity • 14% Danceability • 1% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
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Disasterpeace
Inquiry
89 bpm • D Maj • 02:20 • -21.29db
20% Popularity • 34% Danceability • 12% Energy • 10% Liveness
95% Instrumentalness • 3% Positiveness
20% Popularity • 34% Danceability • 12% Energy • 10% Liveness
95% Instrumentalness • 3% Positiveness
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Colin Stetson
Into Every Corner of the Night
89 bpm • C Maj • 01:49 • -13.97db
16% Popularity • 10% Danceability • 43% Energy • 23% Liveness
96% Instrumentalness • 3% Positiveness
16% Popularity • 10% Danceability • 43% Energy • 23% Liveness
96% Instrumentalness • 3% Positiveness
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Dan Romer
Better Look Me in the Eyes
89 bpm • A# min • 03:49 • -15.03db
22% Popularity • 17% Danceability • 33% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
22% Popularity • 17% Danceability • 33% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
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Underworld
Capa Meets the Sun (To Heal)
89 bpm • G Maj • 02:19 • -25.63db
31% Popularity • 23% Danceability • 6% Energy • 11% Liveness
75% Instrumentalness • 8% Positiveness
31% Popularity • 23% Danceability • 6% Energy • 11% Liveness
75% Instrumentalness • 8% Positiveness
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Daft Punk
TRON Legacy (End Titles)
102 bpm • C# min • 03:17 • -9.14db
47% Popularity • 43% Danceability • 83% Energy • 36% Liveness
88% Instrumentalness • 4% Positiveness
47% Popularity • 43% Danceability • 83% Energy • 36% Liveness
88% Instrumentalness • 4% Positiveness
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Clint Mansell
"We're Not Programs, GERTY, We're People...
89 bpm • C Maj • 05:10 • -22.73db
37% Popularity • 17% Danceability • 14% Energy • 10% Liveness
92% Instrumentalness • 3% Positiveness
37% Popularity • 17% Danceability • 14% Energy • 10% Liveness
92% Instrumentalness • 3% Positiveness
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Lorn
Alt.Vel.Ptch
89 bpm • D# min • 02:20 • -18.91db
31% Popularity • 9% Danceability • 26% Energy • 11% Liveness
87% Instrumentalness • 4% Positiveness
31% Popularity • 9% Danceability • 26% Energy • 11% Liveness
87% Instrumentalness • 4% Positiveness
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Paul Haslinger
Macmillan Utility
102 bpm • D min • 01:51 • -21.82db
35% Popularity • 57% Danceability • 29% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
35% Popularity • 57% Danceability • 29% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
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Mac Quayle
3.3_7-urthegod.mod
102 bpm • D min • 04:58 • -18db
22% Popularity • 54% Danceability • 55% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
22% Popularity • 54% Danceability • 55% Energy • 11% Liveness
94% Instrumentalness • 4% Positiveness
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BORDER 242
Cyborg Chase
102 bpm • F# min • 01:55 • -19.01db
35% Popularity • 65% Danceability • 39% Energy • 12% Liveness
96% Instrumentalness • 17% Positiveness
35% Popularity • 65% Danceability • 39% Energy • 12% Liveness
96% Instrumentalness • 17% Positiveness
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Pyramid
Vision
102 bpm • C min • 03:10 • -12db
32% Popularity • 55% Danceability • 34% Energy • 10% Liveness
92% Instrumentalness • 10% Positiveness
32% Popularity • 55% Danceability • 34% Energy • 10% Liveness
92% Instrumentalness • 10% Positiveness
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John Murphy
How to Leave Your Body
102 bpm • B min • 06:16 • -8db
35% Popularity • 24% Danceability • 54% Energy • 44% Liveness
90% Instrumentalness • 3% Positiveness
35% Popularity • 24% Danceability • 54% Energy • 44% Liveness
90% Instrumentalness • 3% Positiveness
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Lorn
Tattered Flag
88 bpm • G Maj • 01:22 • -14.5db
35% Popularity • 10% Danceability • 16% Energy • 10% Liveness
93% Instrumentalness • 7% Positiveness
35% Popularity • 10% Danceability • 16% Energy • 10% Liveness
93% Instrumentalness • 7% Positiveness
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Dan Romer
Blind Spots
88 bpm • F min • 02:34 • -21.9db
27% Popularity • 13% Danceability • 10% Energy • 9% Liveness
87% Instrumentalness • 3% Positiveness
27% Popularity • 13% Danceability • 10% Energy • 9% Liveness
87% Instrumentalness • 3% Positiveness
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Paul Haslinger
The Scenic Route
102 bpm • D min • 01:49 • -26db
36% Popularity • 54% Danceability • 19% Energy • 8% Liveness
92% Instrumentalness • 9% Positiveness
36% Popularity • 54% Danceability • 19% Energy • 8% Liveness
92% Instrumentalness • 9% Positiveness
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Jon Ekstrand
A Long Way Back
104 bpm • C# Maj • 02:39 • -14db
27% Popularity • 45% Danceability • 32% Energy • 13% Liveness
80% Instrumentalness • 4% Positiveness
27% Popularity • 45% Danceability • 32% Energy • 13% Liveness
80% Instrumentalness • 4% Positiveness
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Bersarin Quartett
Im Lichte des Anderen
87 bpm • C# min • 06:14 • -13.3db
20% Popularity • 12% Danceability • 41% Energy • 12% Liveness
90% Instrumentalness • 3% Positiveness
20% Popularity • 12% Danceability • 41% Energy • 12% Liveness
90% Instrumentalness • 3% Positiveness
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Cliff Martinez
They're Calling My Flight
104 bpm • A# min • 03:02 • -14.42db
28% Popularity • 62% Danceability • 48% Energy • 7% Liveness
90% Instrumentalness • 22% Positiveness
28% Popularity • 62% Danceability • 48% Energy • 7% Liveness
90% Instrumentalness • 22% Positiveness
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Lorn
SILHOUETTE
88 bpm • C# min • 03:53 • -18.21db
35% Popularity • 10% Danceability • 10% Energy • 10% Liveness
85% Instrumentalness • 3% Positiveness
35% Popularity • 10% Danceability • 10% Energy • 10% Liveness
85% Instrumentalness • 3% Positiveness
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ALEX
DELETE SOUL
104 bpm • G# Maj • 03:02 • -10.27db
33% Popularity • 49% Danceability • 48% Energy • 31% Liveness
73% Instrumentalness • 24% Positiveness
33% Popularity • 49% Danceability • 48% Energy • 31% Liveness
73% Instrumentalness • 24% Positiveness
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Paul Haslinger
Golden Gate
102 bpm • C# min • 02:06 • -27.55db
30% Popularity • 53% Danceability • 9% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
30% Popularity • 53% Danceability • 9% Energy • 11% Liveness
95% Instrumentalness • 3% Positiveness
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Paul Leonard-Morgan
Coming Up
105 bpm • D Maj • 04:00 • -11.86db
24% Popularity • 24% Danceability • 43% Energy • 11% Liveness
70% Instrumentalness • 4% Positiveness
24% Popularity • 24% Danceability • 43% Energy • 11% Liveness
70% Instrumentalness • 4% Positiveness
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Daft Punk
Recognizer
104 bpm • C# Maj • 02:37 • -15db
43% Popularity • 58% Danceability • 54% Energy • 11% Liveness
57% Instrumentalness • 6% Positiveness
43% Popularity • 58% Danceability • 54% Energy • 11% Liveness
57% Instrumentalness • 6% Positiveness
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Rod Abernethy
It Looks Like a Warning
86 bpm • D# Maj • 01:32 • -17.49db
14% Popularity • 37% Danceability • 20% Energy • 10% Liveness
90% Instrumentalness • 11% Positiveness
14% Popularity • 37% Danceability • 20% Energy • 10% Liveness
90% Instrumentalness • 11% Positiveness
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Michael McCann
Singapore Ambient (Part 2)
86 bpm • A# min • 02:24 • -18.24db
32% Popularity • 19% Danceability • 29% Energy • 12% Liveness
74% Instrumentalness • 29% Positiveness
32% Popularity • 19% Danceability • 29% Energy • 12% Liveness
74% Instrumentalness • 29% Positiveness
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Ryan Taubert
Faint Frequencies
105 bpm • C# Maj • 02:13 • -13db
21% Popularity • 41% Danceability • 52% Energy • 33% Liveness
91% Instrumentalness • 4% Positiveness
21% Popularity • 41% Danceability • 52% Energy • 33% Liveness
91% Instrumentalness • 4% Positiveness
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Paul Haslinger
Venture Capital
102 bpm • A# min • 01:33 • -28db
17% Popularity • 76% Danceability • 12% Energy • 11% Liveness
93% Instrumentalness • 28% Positiveness
17% Popularity • 76% Danceability • 12% Energy • 11% Liveness
93% Instrumentalness • 28% Positiveness
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Paul Leonard-Morgan
Limitless
105 bpm • D Maj • 01:31 • -8db
35% Popularity • 46% Danceability • 67% Energy • 11% Liveness
84% Instrumentalness • 2% Positiveness
35% Popularity • 46% Danceability • 67% Energy • 11% Liveness
84% Instrumentalness • 2% Positiveness
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Wojciech Golczewski
She Comes
105 bpm • D Maj • 03:57 • -7.9db
25% Popularity • 52% Danceability • 40% Energy • 11% Liveness
97% Instrumentalness • 12% Positiveness
25% Popularity • 52% Danceability • 40% Energy • 11% Liveness
97% Instrumentalness • 12% Positiveness
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Brian Tyler
Heat
105 bpm • C min • 03:33 • -14.22db
25% Popularity • 62% Danceability • 45% Energy • 31% Liveness
84% Instrumentalness • 3% Positiveness
25% Popularity • 62% Danceability • 45% Energy • 31% Liveness
84% Instrumentalness • 3% Positiveness
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John Carpenter
Vortex
105 bpm • A Maj • 04:44 • -10.79db
29% Popularity • 57% Danceability • 62% Energy • 11% Liveness
92% Instrumentalness • 26% Positiveness
29% Popularity • 57% Danceability • 62% Energy • 11% Liveness
92% Instrumentalness • 26% Positiveness
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Hans Zimmer
Stay
85 bpm • F Maj • 06:52 • -15.94db
56% Popularity • 9% Danceability • 5% Energy • 12% Liveness
91% Instrumentalness • 2% Positiveness
56% Popularity • 9% Danceability • 5% Energy • 12% Liveness
91% Instrumentalness • 2% Positiveness
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Paul Haslinger
It's Not Right
102 bpm • F# Maj • 01:23 • -28db
32% Popularity • 42% Danceability • 11% Energy • 9% Liveness
83% Instrumentalness • 4% Positiveness
32% Popularity • 42% Danceability • 11% Energy • 9% Liveness
83% Instrumentalness • 4% Positiveness
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Paul Leonard-Morgan
Happy Pills
105 bpm • G Maj • 04:32 • -8.91db
31% Popularity • 50% Danceability • 74% Energy • 27% Liveness
6% Instrumentalness • 23% Positiveness
31% Popularity • 50% Danceability • 74% Energy • 27% Liveness
6% Instrumentalness • 23% Positiveness
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Hildur Guðnadóttir
Bridge of Death
86 bpm • B min • 04:44 • -17.43db
34% Popularity • 15% Danceability • 37% Energy • 59% Liveness
90% Instrumentalness • 4% Positiveness
34% Popularity • 15% Danceability • 37% Energy • 59% Liveness
90% Instrumentalness • 4% Positiveness
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TOTO
Prophecy Theme
85 bpm • D min • 04:21 • -23.12db
43% Popularity • 19% Danceability • 11% Energy • 9% Liveness
92% Instrumentalness • 6% Positiveness
43% Popularity • 19% Danceability • 11% Energy • 9% Liveness
92% Instrumentalness • 6% Positiveness
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Brendan Angelides
Chuck Rhodes, Riderless Horse
85 bpm • G Maj • 01:56 • -23.47db
11% Popularity • 19% Danceability • 12% Energy • 10% Liveness
75% Instrumentalness • 10% Positiveness
11% Popularity • 19% Danceability • 12% Energy • 10% Liveness
75% Instrumentalness • 10% Positiveness