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Down the Harry Hole
Songs like
Down the Harry Hole
by
Marco Beltrami
Based on a tempo of (+/- 10%) and a similar genre
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Blake Neely
Scene of a Crime
160 bpm • G min • 03:37 • -27.79db
14% Popularity • 60% Danceability • 5% Energy • 11% Liveness
61% Instrumentalness • 7% Positiveness
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Harry Gregson-Williams
Build a Bomb
160 bpm • C# Maj • 05:06 • -23.18db
26% Popularity • 20% Danceability • 16% Energy • 10% Liveness
91% Instrumentalness • 3% Positiveness
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John Powell
At The Bank
160 bpm • F min • 04:07 • -17db
28% Popularity • 56% Danceability • 36% Energy • 8% Liveness
80% Instrumentalness • 10% Positiveness
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Chris Tilton
A New Day In The Old Town
160 bpm • C min • 01:44 • -22.27db
31% Popularity • 56% Danceability • 17% Energy • 18% Liveness
94% Instrumentalness • 22% Positiveness
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Thomas Newman
Tennyson
158 bpm • A# min • 02:14 • -16.63db
29% Popularity • 39% Danceability • 14% Energy • 46% Liveness
93% Instrumentalness • 4% Positiveness
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Jeff Russo
Landing
157 bpm • A# min • 04:01 • -17.5db
18% Popularity • 32% Danceability • 25% Energy • 18% Liveness
94% Instrumentalness • 4% Positiveness
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Marco Beltrami
Wales
163 bpm • F# min • 05:22 • -22.66db
27% Popularity • 9% Danceability • 8% Energy • 8% Liveness
60% Instrumentalness • 4% Positiveness
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Alexandre Desplat
Preparation for Attack
156 bpm • C# Maj • 01:45 • -18.66db
18% Popularity • 62% Danceability • 15% Energy • 11% Liveness
92% Instrumentalness • 42% Positiveness
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John Powell
Berlin
162 bpm • E min • 02:02 • -23.73db
35% Popularity • 59% Danceability • 46% Energy • 12% Liveness
85% Instrumentalness • 33% Positiveness
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Pinar Toprak
Learning the Truth
167 bpm • G Maj • 03:16 • -27db
34% Popularity • 9% Danceability • 4% Energy • 10% Liveness
92% Instrumentalness • 4% Positiveness
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Graeme Revell
The Chronicles Of Riddick
167 bpm • C# Maj • 02:44 • -14.18db
19% Popularity • 15% Danceability • 42% Energy • 9% Liveness
93% Instrumentalness • 4% Positiveness
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Javier Navarrete
Kronos Megalos - Remix
152 bpm • F min • 05:07 • -11.95db
10% Popularity • 26% Danceability • 54% Energy • 14% Liveness
75% Instrumentalness • 12% Positiveness
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Steve Jablonsky
Bumblebee
152 bpm • D min • 03:56 • -19db
46% Popularity • 33% Danceability • 22% Energy • 14% Liveness
84% Instrumentalness • 4% Positiveness
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Christopher Young
The Apple
168 bpm • C# Maj • 01:14 • -19db
38% Popularity • 8% Danceability • 8% Energy • 11% Liveness
94% Instrumentalness • 5% Positiveness
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Marco Beltrami
Norah's Theme
170 bpm • D min • 02:22 • -24.35db
17% Popularity • 13% Danceability • 13% Energy • 40% Liveness
89% Instrumentalness • 3% Positiveness
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Harry Gregson-Williams
Logan Through Time
170 bpm • E min • 04:16 • -15db
30% Popularity • 15% Danceability • 47% Energy • 16% Liveness
97% Instrumentalness • 8% Positiveness
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Nicholas Britell
Antiphon
150 bpm • C min • 02:16 • -18.8db
45% Popularity • 49% Danceability • 37% Energy • 10% Liveness
81% Instrumentalness • 7% Positiveness
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Ludwig Göransson
FOILS
150 bpm • D# min • 03:10 • -13.32db
46% Popularity • 54% Danceability • 46% Energy • 10% Liveness
93% Instrumentalness • 42% Positiveness
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Steve Jablonsky
Ender's War
170 bpm • G# Maj • 03:26 • -19.26db
49% Popularity • 27% Danceability • 21% Energy • 9% Liveness
94% Instrumentalness • 10% Positiveness
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Steven Price
This Is My Home
150 bpm • F Maj • 03:43 • -19db
31% Popularity • 20% Danceability • 25% Energy • 11% Liveness
76% Instrumentalness • 4% Positiveness
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Mychael Danna
More
150 bpm • F Maj • 01:37 • -22db
39% Popularity • 61% Danceability • 14% Energy • 13% Liveness
95% Instrumentalness • 44% Positiveness
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Matthew Margeson
Cracking the Code
149 bpm • C Maj • 03:06 • -12.31db
12% Popularity • 46% Danceability • 34% Energy • 5% Liveness
86% Instrumentalness • 22% Positiveness
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Nicholas Britell
At Death's Door
171 bpm • C# Maj • 02:40 • -27.02db
14% Popularity • 8% Danceability • 2% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
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Ludwig Göransson
Theorists
150 bpm • G# Maj • 03:14 • -19.95db
52% Popularity • 17% Danceability • 6% Energy • 7% Liveness
97% Instrumentalness • 4% Positiveness
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Rob Simonsen
Cloudless Skies
149 bpm • C Maj • 01:10 • -27db
30% Popularity • 12% Danceability • 11% Energy • 13% Liveness
93% Instrumentalness • 3% Positiveness
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Steve Jablonsky
Ender's Promise
170 bpm • D min • 05:08 • -16.64db
23% Popularity • 8% Danceability • 20% Energy • 7% Liveness
98% Instrumentalness • 4% Positiveness
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The Prestige
Are You Watching Closely?
173 bpm • E min • 01:51 • -22db
29% Popularity • 8% Danceability • 18% Energy • 10% Liveness
78% Instrumentalness • 4% Positiveness
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Don Davis
Exit Mr. Hat
148 bpm • B min • 01:23 • -16.27db
25% Popularity • 15% Danceability • 40% Energy • 8% Liveness
83% Instrumentalness • 3% Positiveness
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John Powell
Following the Target
173 bpm • D Maj • 03:29 • -18.26db
19% Popularity • 26% Danceability • 47% Energy • 11% Liveness
71% Instrumentalness • 6% Positiveness
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Pinar Toprak
Let's Bring Him Home
174 bpm • A# min • 01:39 • -17db
24% Popularity • 13% Danceability • 43% Energy • 9% Liveness
79% Instrumentalness • 5% Positiveness
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Marc Streitenfeld
Ambush
147 bpm • E min • 01:15 • -12.82db
49% Popularity • 30% Danceability • 55% Energy • 42% Liveness
93% Instrumentalness • 6% Positiveness
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Steve Jablonsky
Optimus
150 bpm • G min • 03:15 • -17db
48% Popularity • 15% Danceability • 39% Energy • 12% Liveness
92% Instrumentalness • 4% Positiveness
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Sarah Schachner
Naru and Sarii
175 bpm • G# Maj • 00:58 • -24.42db
42% Popularity • 16% Danceability • 6% Energy • 8% Liveness
96% Instrumentalness • 4% Positiveness
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Jeff Russo
Von Braun
174 bpm • A# min • 02:19 • -14.02db
16% Popularity • 24% Danceability • 24% Energy • 29% Liveness
90% Instrumentalness • 5% Positiveness
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Kevin Kiner
Ahsoka Leaves
176 bpm • G Maj • 02:22 • -16db
45% Popularity • 8% Danceability • 19% Energy • 13% Liveness
92% Instrumentalness • 4% Positiveness
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Marco Beltrami
It Hears You
176 bpm • C# Maj • 04:28 • -14.84db
22% Popularity • 13% Danceability • 28% Energy • 11% Liveness
78% Instrumentalness • 4% Positiveness
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Matthew Margeson
Savile Row
177 bpm • C Maj • 01:49 • -12.29db
13% Popularity • 10% Danceability • 32% Energy • 11% Liveness
86% Instrumentalness • 4% Positiveness
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Dominic Lewis
BCR
144 bpm • A Maj • 04:48 • -22.24db
8% Popularity • 61% Danceability • 28% Energy • 7% Liveness
78% Instrumentalness • 9% Positiveness
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Marc Streitenfeld
Destiny
144 bpm • A min • 03:36 • -17db
45% Popularity • 19% Danceability • 18% Energy • 4% Liveness
95% Instrumentalness • 10% Positiveness
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Pinar Toprak
Why Do You Fight?
144 bpm • C min • 01:14 • -20.39db
35% Popularity • 31% Danceability • 18% Energy • 15% Liveness
97% Instrumentalness • 3% Positiveness
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Jerry Goldsmith
The Hollowgram
144 bpm • G# Maj • 05:40 • -19.92db
34% Popularity • 25% Danceability • 10% Energy • 8% Liveness
87% Instrumentalness • 3% Positiveness
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Marco Beltrami
Positive Feedback
177 bpm • C# Maj • 01:28 • -13.05db
13% Popularity • 9% Danceability • 46% Energy • 10% Liveness
97% Instrumentalness • 4% Positiveness
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Hildur Guðnadóttir
Following Sophie
179 bpm • D Maj • 01:33 • -18.12db
33% Popularity • 13% Danceability • 3% Energy • 9% Liveness
88% Instrumentalness • 3% Positiveness
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Carter Burwell
Apprenticed
179 bpm • D Maj • 03:19 • -27.31db
17% Popularity • 9% Danceability • 4% Energy • 11% Liveness
93% Instrumentalness • 10% Positiveness
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Mark Mothersbaugh
Twilight of the Gods
143 bpm • F# Maj • 06:14 • -17.64db
27% Popularity • 14% Danceability • 6% Energy • 11% Liveness
34% Instrumentalness • 4% Positiveness
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David Buckley
Meet Ethel Cripps
142 bpm • A# min • 02:54 • -35.13db
25% Popularity • 14% Danceability • 1% Energy • 11% Liveness
87% Instrumentalness • 3% Positiveness
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Harry Gregson-Williams
Science the S*** Out of This
180 bpm • F# min • 02:16 • -23db
35% Popularity • 44% Danceability • 23% Energy • 11% Liveness
92% Instrumentalness • 6% Positiveness
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Marco Beltrami
Watch Us Run
180 bpm • C Maj • 02:00 • -16.54db
19% Popularity • 24% Danceability • 59% Energy • 12% Liveness
84% Instrumentalness • 4% Positiveness
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Jeff Russo
The Day That Wasn’t
142 bpm • E min • 03:23 • -18.59db
20% Popularity • 46% Danceability • 24% Energy • 11% Liveness
82% Instrumentalness • 13% Positiveness
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Hildur Guðnadóttir
A Bad Comedian
179 bpm • D# Maj • 01:28 • -30.48db
36% Popularity • 7% Danceability • 2% Energy • 11% Liveness
90% Instrumentalness • 3% Positiveness
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Don Davis
Welcome To The Real World
142 bpm • C min • 02:28 • -31.07db
26% Popularity • 14% Danceability • 2% Energy • 8% Liveness
47% Instrumentalness • 4% Positiveness
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John Frizzell
The Rescue
142 bpm • G Maj • 03:05 • -19.62db
12% Popularity • 14% Danceability • 19% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
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Jeff Beal
To Be King
141 bpm • C Maj • 06:19 • -19.79db
14% Popularity • 15% Danceability • 17% Energy • 10% Liveness
92% Instrumentalness • 3% Positiveness
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Alexandre Desplat
Back to Base
141 bpm • A min • 02:41 • -24.06db
19% Popularity • 14% Danceability • 18% Energy • 11% Liveness
87% Instrumentalness • 4% Positiveness
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Pinar Toprak
This Isn't Goodbye
141 bpm • C Maj • 02:29 • -19db
32% Popularity • 14% Danceability • 17% Energy • 5% Liveness
50% Instrumentalness • 6% Positiveness
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Natalie Holt
Pruned
141 bpm • C# min • 02:44 • -15db
33% Popularity • 20% Danceability • 34% Energy • 8% Liveness
83% Instrumentalness • 4% Positiveness
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Steve Jablonsky
The Way We Win Matters
141 bpm • F min • 06:14 • -22.01db
19% Popularity • 14% Danceability • 10% Energy • 9% Liveness
90% Instrumentalness • 3% Positiveness
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Marco Beltrami
A Quiet Moment
140 bpm • C Maj • 01:13 • -30.59db
31% Popularity • 26% Danceability • 1% Energy • 9% Liveness
84% Instrumentalness • 12% Positiveness
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Jóhann Jóhannsson
Drywall
183 bpm • D Maj • 02:34 • -26.61db
29% Popularity • 12% Danceability • 7% Energy • 11% Liveness
80% Instrumentalness • 3% Positiveness
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Steven Price
The Beetfield
140 bpm • C# Maj • 07:59 • -16.83db
25% Popularity • 20% Danceability • 27% Energy • 10% Liveness
90% Instrumentalness • 4% Positiveness
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John Powell
Backdoor Breach
140 bpm • A# min • 03:50 • -18.43db
20% Popularity • 34% Danceability • 45% Energy • 13% Liveness
93% Instrumentalness • 10% Positiveness
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Howard Shore
Shore: Finale
140 bpm • D min • 04:51 • -15.26db
20% Popularity • 15% Danceability • 24% Energy • 9% Liveness
86% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
I Could Have Killed Him
139 bpm • B min • 02:20 • -23.4db
41% Popularity • 14% Danceability • 14% Energy • 8% Liveness
89% Instrumentalness • 3% Positiveness
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Marco Beltrami
Wide View
140 bpm • F# Maj • 01:35 • -19db
27% Popularity • 16% Danceability • 22% Energy • 10% Liveness
81% Instrumentalness • 6% Positiveness
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Christopher Lennertz
Peggy Remembers Cap
139 bpm • G# Maj • 01:51 • -14.66db
23% Popularity • 31% Danceability • 38% Energy • 13% Liveness
93% Instrumentalness • 13% Positiveness
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Harry Gregson-Williams
The Duel
139 bpm • F min • 05:12 • -18.53db
25% Popularity • 18% Danceability • 21% Energy • 12% Liveness
85% Instrumentalness • 3% Positiveness
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Nathan Johnson
Like Father, Like Son
138 bpm • D Maj • 01:01 • -21.18db
36% Popularity • 15% Danceability • 13% Energy • 17% Liveness
94% Instrumentalness • 3% Positiveness
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Dario Marianelli
First Trek: Base Camp
138 bpm • G Maj • 02:30 • -14.28db
25% Popularity • 42% Danceability • 51% Energy • 10% Liveness
93% Instrumentalness • 42% Positiveness
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Steve Jablonsky
The Battle Room
138 bpm • G min • 03:03 • -17db
42% Popularity • 38% Danceability • 31% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
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Joe Kraemer
A Foggy Night in London
138 bpm • C Maj • 02:09 • -15.11db
26% Popularity • 43% Danceability • 37% Energy • 38% Liveness
93% Instrumentalness • 22% Positiveness
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Ilan Eshkeri
Mika And Kai
138 bpm • D min • 02:45 • -27.63db
47% Popularity • 15% Danceability • 3% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
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Thomas Newman
50% of Light Speed
137 bpm • G# Maj • 03:13 • -25.94db
23% Popularity • 25% Danceability • 17% Energy • 9% Liveness
90% Instrumentalness • 3% Positiveness
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Mychael Danna
Spring Training
138 bpm • A Maj • 01:34 • -22.87db
30% Popularity • 27% Danceability • 22% Energy • 13% Liveness
94% Instrumentalness • 4% Positiveness
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Dario Marianelli
Chopper Rescue
138 bpm • E min • 02:20 • -16.84db
19% Popularity • 58% Danceability • 58% Energy • 11% Liveness
90% Instrumentalness • 19% Positiveness
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Carter Burwell
To Run Or Not To Run
137 bpm • G Maj • 04:09 • -21.73db
17% Popularity • 15% Danceability • 1% Energy • 14% Liveness
95% Instrumentalness • 4% Positiveness
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Michael Kamen
Swamp - Instrumental
137 bpm • F Maj • 02:08 • -27.74db
25% Popularity • 22% Danceability • 3% Energy • 9% Liveness
79% Instrumentalness • 4% Positiveness
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Nicholas Britell
Tetrachord - War and Fate
137 bpm • D# Maj • 02:14 • -23.15db
35% Popularity • 15% Danceability • 10% Energy • 10% Liveness
88% Instrumentalness • 3% Positiveness
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Harry Gregson-Williams
Five Pounds of Pressure
137 bpm • C Maj • 03:38 • -28.59db
19% Popularity • 15% Danceability • 3% Energy • 13% Liveness
88% Instrumentalness • 3% Positiveness
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Rupert Gregson-Williams
A Miraculous Return
136 bpm • E min • 02:50 • -17.77db
30% Popularity • 15% Danceability • 28% Energy • 10% Liveness
92% Instrumentalness • 3% Positiveness
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Marco Beltrami
Labor Intensive
190 bpm • C# Maj • 08:13 • -21.47db
12% Popularity • 13% Danceability • 27% Energy • 8% Liveness
84% Instrumentalness • 3% Positiveness
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Joseph Trapanese
Here's the Plan
191 bpm • A min • 02:30 • -22.35db
8% Popularity • 19% Danceability • 10% Energy • 6% Liveness
86% Instrumentalness • 3% Positiveness
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Roque Baños
End Credits - Alternate Version; Bonus T...
191 bpm • D Maj • 01:17 • -9.61db
24% Popularity • 18% Danceability • 75% Energy • 14% Liveness
96% Instrumentalness • 24% Positiveness
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Thomas Newman
Up the Down Trench
194 bpm • G Maj • 06:19 • -28.76db
32% Popularity • 20% Danceability • 27% Energy • 12% Liveness
84% Instrumentalness • 3% Positiveness
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John Powell
Bourne On Land
199 bpm • A# min • 01:42 • -28.32db
37% Popularity • 58% Danceability • 8% Energy • 8% Liveness
88% Instrumentalness • 46% Positiveness
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Rupert Gregson-Williams
I Can't Hear You
136 bpm • E min • 02:54 • -16.41db
32% Popularity • 15% Danceability • 12% Energy • 7% Liveness
77% Instrumentalness • 4% Positiveness
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Down the Harry Hole