Songs like Future King by Rupert Gregson-Williams
Based on a tempo of (+/- 10%) and a similar genre
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Rupert Gregson-Williams
Sagana
120 bpm • D min • 04:32 • -28.13db
33% Popularity • 17% Danceability • 2% Energy • 8% Liveness
95% Instrumentalness • 3% Positiveness
33% Popularity • 17% Danceability • 2% Energy • 8% Liveness
95% Instrumentalness • 3% Positiveness
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Secession Studios
The Untold
120 bpm • C# Maj • 03:11 • -17.06db
56% Popularity • 44% Danceability • 38% Energy • 6% Liveness
96% Instrumentalness • 9% Positiveness
56% Popularity • 44% Danceability • 38% Energy • 6% Liveness
96% Instrumentalness • 9% Positiveness
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Carlos Rafael Rivera
Mexico City Invitational 1966
120 bpm • G# Maj • 02:21 • -19.98db
41% Popularity • 49% Danceability • 28% Energy • 8% Liveness
96% Instrumentalness • 17% Positiveness
41% Popularity • 49% Danceability • 28% Energy • 8% Liveness
96% Instrumentalness • 17% Positiveness
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Trevor Rabin
Page 47
120 bpm • D min • 02:39 • -11.81db
46% Popularity • 23% Danceability • 34% Energy • 33% Liveness
36% Instrumentalness • 7% Positiveness
46% Popularity • 23% Danceability • 34% Energy • 33% Liveness
36% Instrumentalness • 7% Positiveness
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Steven Price
Emma
120 bpm • D min • 02:35 • -15db
50% Popularity • 41% Danceability • 43% Energy • 7% Liveness
94% Instrumentalness • 8% Positiveness
50% Popularity • 41% Danceability • 43% Energy • 7% Liveness
94% Instrumentalness • 8% Positiveness
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Roque Baños
Chase Walking Nantucket
120 bpm • D min • 02:05 • -16db
25% Popularity • 51% Danceability • 60% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
25% Popularity • 51% Danceability • 60% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
In This Together
120 bpm • G min • 05:59 • -20db
33% Popularity • 18% Danceability • 12% Energy • 5% Liveness
90% Instrumentalness • 3% Positiveness
33% Popularity • 18% Danceability • 12% Energy • 5% Liveness
90% Instrumentalness • 3% Positiveness
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Stephen Warbeck
Train Journey
120 bpm • E min • 02:34 • -25db
27% Popularity • 38% Danceability • 10% Energy • 12% Liveness
94% Instrumentalness • 7% Positiveness
27% Popularity • 38% Danceability • 10% Energy • 12% Liveness
94% Instrumentalness • 7% Positiveness
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Carlos Rafael Rivera
The Green Pills
120 bpm • C min • 01:30 • -31.61db
47% Popularity • 40% Danceability • 1% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
47% Popularity • 40% Danceability • 1% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
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Amelia Warner
The Book
120 bpm • A min • 03:24 • -15db
21% Popularity • 18% Danceability • 26% Energy • 5% Liveness
87% Instrumentalness • 4% Positiveness
21% Popularity • 18% Danceability • 26% Energy • 5% Liveness
87% Instrumentalness • 4% Positiveness
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Steven Price
Norman
120 bpm • A# Maj • 02:50 • -16.45db
54% Popularity • 29% Danceability • 47% Energy • 14% Liveness
88% Instrumentalness • 8% Positiveness
54% Popularity • 29% Danceability • 47% Energy • 14% Liveness
88% Instrumentalness • 8% Positiveness
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John Murphy
Sunshine (Adagio in D Minor)
119 bpm • G Maj • 04:44 • -9.46db
50% Popularity • 17% Danceability • 41% Energy • 10% Liveness
81% Instrumentalness • 4% Positiveness
50% Popularity • 17% Danceability • 41% Energy • 10% Liveness
81% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
Duck Shoot
120 bpm • D min • 04:07 • -18.79db
50% Popularity • 23% Danceability • 14% Energy • 11% Liveness
91% Instrumentalness • 3% Positiveness
50% Popularity • 23% Danceability • 14% Energy • 11% Liveness
91% Instrumentalness • 3% Positiveness
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Nick Glennie-Smith
Look Around You
119 bpm • F min • 08:45 • -19.88db
29% Popularity • 17% Danceability • 12% Energy • 10% Liveness
75% Instrumentalness • 2% Positiveness
29% Popularity • 17% Danceability • 12% Energy • 10% Liveness
75% Instrumentalness • 2% Positiveness
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Carlos Rafael Rivera
Ceiling Games
120 bpm • F Maj • 02:17 • -13db
52% Popularity • 37% Danceability • 29% Energy • 12% Liveness
92% Instrumentalness • 12% Positiveness
52% Popularity • 37% Danceability • 29% Energy • 12% Liveness
92% Instrumentalness • 12% Positiveness
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Michael Giacchino
London Calling
121 bpm • F min • 02:10 • -26.23db
38% Popularity • 29% Danceability • 4% Energy • 6% Liveness
93% Instrumentalness • 6% Positiveness
38% Popularity • 29% Danceability • 4% Energy • 6% Liveness
93% Instrumentalness • 6% Positiveness
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Steven Price
Great Rolling Waves
121 bpm • D# min • 06:36 • -14db
26% Popularity • 22% Danceability • 36% Energy • 7% Liveness
88% Instrumentalness • 4% Positiveness
26% Popularity • 22% Danceability • 36% Energy • 7% Liveness
88% Instrumentalness • 4% Positiveness
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Rob Simonsen
Ellis Brings Flowers
119 bpm • D Maj • 02:45 • -26.92db
22% Popularity • 39% Danceability • 6% Energy • 11% Liveness
92% Instrumentalness • 8% Positiveness
22% Popularity • 39% Danceability • 6% Energy • 11% Liveness
92% Instrumentalness • 8% Positiveness
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Rupert Gregson-Williams
Future King
120 bpm • A# min • 02:21 • -16.2db
45% Popularity • 33% Danceability • 22% Energy • 8% Liveness
96% Instrumentalness • 4% Positiveness
45% Popularity • 33% Danceability • 22% Energy • 8% Liveness
96% Instrumentalness • 4% Positiveness
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Hans Zimmer
The Crown Main Title
121 bpm • D min • 01:24 • -14.4db
48% Popularity • 18% Danceability • 28% Energy • 10% Liveness
90% Instrumentalness • 4% Positiveness
48% Popularity • 18% Danceability • 28% Energy • 10% Liveness
90% Instrumentalness • 4% Positiveness
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Trevor Rabin
Ben
119 bpm • C Maj • 04:03 • -18.05db
42% Popularity • 17% Danceability • 15% Energy • 13% Liveness
94% Instrumentalness • 4% Positiveness
42% Popularity • 17% Danceability • 15% Energy • 13% Liveness
94% Instrumentalness • 4% Positiveness
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Mike Higham
Go to Her
119 bpm • C min • 06:16 • -16db
29% Popularity • 21% Danceability • 15% Energy • 15% Liveness
80% Instrumentalness • 4% Positiveness
29% Popularity • 21% Danceability • 15% Energy • 15% Liveness
80% Instrumentalness • 4% Positiveness
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Steven Price
Shenzou
121 bpm • C# min • 06:11 • -12.01db
39% Popularity • 30% Danceability • 50% Energy • 16% Liveness
89% Instrumentalness • 4% Positiveness
39% Popularity • 30% Danceability • 50% Energy • 16% Liveness
89% Instrumentalness • 4% Positiveness
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David Arnold
The Woman
122 bpm • A min • 02:31 • -22.24db
33% Popularity • 38% Danceability • 10% Energy • 11% Liveness
94% Instrumentalness • 11% Positiveness
33% Popularity • 38% Danceability • 10% Energy • 11% Liveness
94% Instrumentalness • 11% Positiveness
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Rupert Gregson-Williams
Be My Portrait
120 bpm • C min • 02:37 • -25db
31% Popularity • 22% Danceability • 6% Energy • 10% Liveness
78% Instrumentalness • 3% Positiveness
31% Popularity • 22% Danceability • 6% Energy • 10% Liveness
78% Instrumentalness • 3% Positiveness
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Thomas Newman
Sixteen Hundred Men
122 bpm • C min • 06:32 • -19.85db
42% Popularity • 39% Danceability • 23% Energy • 10% Liveness
83% Instrumentalness • 4% Positiveness
42% Popularity • 39% Danceability • 23% Energy • 10% Liveness
83% Instrumentalness • 4% Positiveness
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Trevor Rabin
City of Gold
118 bpm • G Maj • 02:13 • -11db
33% Popularity • 18% Danceability • 30% Energy • 19% Liveness
95% Instrumentalness • 4% Positiveness
33% Popularity • 18% Danceability • 30% Energy • 19% Liveness
95% Instrumentalness • 4% Positiveness
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Jeff Beal
Not A Chauffeur
118 bpm • A# Maj • 01:32 • -16.04db
37% Popularity • 67% Danceability • 27% Energy • 10% Liveness
69% Instrumentalness • 60% Positiveness
37% Popularity • 67% Danceability • 27% Energy • 10% Liveness
69% Instrumentalness • 60% Positiveness
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Roque Baños
Essex Leaving Harbor
118 bpm • G# Maj • 03:06 • -15.56db
21% Popularity • 52% Danceability • 57% Energy • 10% Liveness
80% Instrumentalness • 16% Positiveness
21% Popularity • 52% Danceability • 57% Energy • 10% Liveness
80% Instrumentalness • 16% Positiveness
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Klaus Badelt
Godspeed
118 bpm • A min • 05:19 • -14db
43% Popularity • 22% Danceability • 14% Energy • 8% Liveness
31% Instrumentalness • 12% Positiveness
43% Popularity • 22% Danceability • 14% Energy • 8% Liveness
31% Instrumentalness • 12% Positiveness
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Rupert Gregson-Williams
Rescue Continues
122 bpm • E min • 03:46 • -15db
40% Popularity • 32% Danceability • 39% Energy • 11% Liveness
88% Instrumentalness • 4% Positiveness
40% Popularity • 32% Danceability • 39% Energy • 11% Liveness
88% Instrumentalness • 4% Positiveness
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Pinar Toprak
I'm All Fired Up
118 bpm • A# Maj • 03:20 • -17.27db
32% Popularity • 18% Danceability • 25% Energy • 12% Liveness
85% Instrumentalness • 3% Positiveness
32% Popularity • 18% Danceability • 25% Energy • 12% Liveness
85% Instrumentalness • 3% Positiveness
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Martin Phipps
Charles
117 bpm • D min • 02:23 • -24.55db
39% Popularity • 24% Danceability • 4% Energy • 8% Liveness
92% Instrumentalness • 5% Positiveness
39% Popularity • 24% Danceability • 4% Energy • 8% Liveness
92% Instrumentalness • 5% Positiveness
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Jeff Beal
I've Known Everything
123 bpm • C min • 04:39 • -16.49db
29% Popularity • 40% Danceability • 22% Energy • 12% Liveness
86% Instrumentalness • 3% Positiveness
29% Popularity • 40% Danceability • 22% Energy • 12% Liveness
86% Instrumentalness • 3% Positiveness
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Ruth Barrett
A Royal Affair
117 bpm • A# min • 02:04 • -16.5db
23% Popularity • 22% Danceability • 20% Energy • 7% Liveness
92% Instrumentalness • 4% Positiveness
23% Popularity • 22% Danceability • 20% Energy • 7% Liveness
92% Instrumentalness • 4% Positiveness
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Alan Silvestri
Even for You
124 bpm • A min • 02:16 • -15db
43% Popularity • 17% Danceability • 18% Energy • 10% Liveness
90% Instrumentalness • 4% Positiveness
43% Popularity • 17% Danceability • 18% Energy • 10% Liveness
90% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
The Downfall
122 bpm • C min • 06:19 • -19.05db
34% Popularity • 30% Danceability • 17% Energy • 8% Liveness
59% Instrumentalness • 3% Positiveness
34% Popularity • 30% Danceability • 17% Energy • 8% Liveness
59% Instrumentalness • 3% Positiveness
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Marco Beltrami
A Quiet Life
117 bpm • E Maj • 02:58 • -22db
39% Popularity • 18% Danceability • 23% Energy • 8% Liveness
68% Instrumentalness • 4% Positiveness
39% Popularity • 18% Danceability • 23% Energy • 8% Liveness
68% Instrumentalness • 4% Positiveness
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Lorne Balfe
The Strength of Gyptians
124 bpm • F min • 03:38 • -10.76db
21% Popularity • 17% Danceability • 38% Energy • 10% Liveness
90% Instrumentalness • 5% Positiveness
21% Popularity • 17% Danceability • 38% Energy • 10% Liveness
90% Instrumentalness • 5% Positiveness
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Martin Phipps
Voices
124 bpm • C min • 03:30 • -17db
37% Popularity • 18% Danceability • 15% Energy • 14% Liveness
87% Instrumentalness • 4% Positiveness
37% Popularity • 18% Danceability • 15% Energy • 14% Liveness
87% Instrumentalness • 4% Positiveness
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John Paesano
Finale
116 bpm • A Maj • 04:17 • -16.3db
43% Popularity • 22% Danceability • 18% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
43% Popularity • 22% Danceability • 18% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
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Kevin Kiner
Jedi Eulogy
116 bpm • D# Maj • 01:08 • -9db
52% Popularity • 17% Danceability • 29% Energy • 11% Liveness
91% Instrumentalness • 3% Positiveness
52% Popularity • 17% Danceability • 29% Energy • 11% Liveness
91% Instrumentalness • 3% Positiveness
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Rupert Gregson-Williams
Dressing Down
116 bpm • A min • 03:09 • -19.95db
31% Popularity • 29% Danceability • 22% Energy • 10% Liveness
93% Instrumentalness • 10% Positiveness
31% Popularity • 29% Danceability • 22% Energy • 10% Liveness
93% Instrumentalness • 10% Positiveness
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Anne Dudley
Fresh Paint
115 bpm • D min • 02:01 • -19db
34% Popularity • 20% Danceability • 5% Energy • 9% Liveness
94% Instrumentalness • 3% Positiveness
34% Popularity • 20% Danceability • 5% Energy • 9% Liveness
94% Instrumentalness • 3% Positiveness
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David Arnold
Addicted to a Certain Lifestyle
125 bpm • A min • 03:50 • -21.65db
31% Popularity • 19% Danceability • 8% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
31% Popularity • 19% Danceability • 8% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
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Thomas Farnon
Transcendence
125 bpm • G min • 02:16 • -12.87db
34% Popularity • 17% Danceability • 38% Energy • 38% Liveness
84% Instrumentalness • 4% Positiveness
34% Popularity • 17% Danceability • 38% Energy • 38% Liveness
84% Instrumentalness • 4% Positiveness
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Nicholas Hooper
Dumbledore's Farewell
115 bpm • A min • 02:22 • -22.18db
66% Popularity • 24% Danceability • 6% Energy • 18% Liveness
89% Instrumentalness • 4% Positiveness
66% Popularity • 24% Danceability • 6% Energy • 18% Liveness
89% Instrumentalness • 4% Positiveness
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David Buckley
Jessamy's Flight
126 bpm • E min • 02:40 • -17db
28% Popularity • 22% Danceability • 41% Energy • 6% Liveness
87% Instrumentalness • 4% Positiveness
28% Popularity • 22% Danceability • 41% Energy • 6% Liveness
87% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
One Man At A Time
116 bpm • D Maj • 02:30 • -13db
50% Popularity • 21% Danceability • 50% Energy • 10% Liveness
87% Instrumentalness • 3% Positiveness
50% Popularity • 21% Danceability • 50% Energy • 10% Liveness
87% Instrumentalness • 3% Positiveness
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Marco Beltrami
Beyond the Hills
126 bpm • A min • 02:09 • -25.86db
22% Popularity • 29% Danceability • 2% Energy • 6% Liveness
95% Instrumentalness • 4% Positiveness
22% Popularity • 29% Danceability • 2% Energy • 6% Liveness
95% Instrumentalness • 4% Positiveness
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David Hirschfelder
They Were Starting to Like Me
115 bpm • G min • 02:16 • -22.94db
30% Popularity • 21% Danceability • 7% Energy • 15% Liveness
92% Instrumentalness • 23% Positiveness
30% Popularity • 21% Danceability • 7% Energy • 15% Liveness
92% Instrumentalness • 23% Positiveness
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Paolo Buonvino
Lies
126 bpm • B min • 02:01 • -19.74db
34% Popularity • 30% Danceability • 7% Energy • 11% Liveness
9% Instrumentalness • 4% Positiveness
34% Popularity • 30% Danceability • 7% Energy • 11% Liveness
9% Instrumentalness • 4% Positiveness
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Ilan Eshkeri
Seppuku
114 bpm • F Maj • 03:44 • -15.76db
35% Popularity • 17% Danceability • 33% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
35% Popularity • 17% Danceability • 33% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
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Martin Phipps
Roddy
126 bpm • B min • 03:05 • -25.76db
31% Popularity • 23% Danceability • 12% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
31% Popularity • 23% Danceability • 12% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
Bit of Fluff
115 bpm • D# Maj • 02:30 • -30.97db
28% Popularity • 19% Danceability • 2% Energy • 7% Liveness
87% Instrumentalness • 3% Positiveness
28% Popularity • 19% Danceability • 2% Energy • 7% Liveness
87% Instrumentalness • 3% Positiveness
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Carlos Rafael Rivera
Playing Townes
114 bpm • A min • 03:45 • -29db
42% Popularity • 33% Danceability • 7% Energy • 11% Liveness
93% Instrumentalness • 7% Positiveness
42% Popularity • 33% Danceability • 7% Energy • 11% Liveness
93% Instrumentalness • 7% Positiveness
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Lorne Balfe
Forbidden Love
127 bpm • C min • 03:05 • -11.6db
17% Popularity • 21% Danceability • 30% Energy • 9% Liveness
89% Instrumentalness • 5% Positiveness
17% Popularity • 21% Danceability • 30% Energy • 9% Liveness
89% Instrumentalness • 5% Positiveness
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Paolo Buonvino
The Engagement
126 bpm • E min • 02:10 • -14.55db
33% Popularity • 58% Danceability • 39% Energy • 28% Liveness
85% Instrumentalness • 25% Positiveness
33% Popularity • 58% Danceability • 39% Energy • 28% Liveness
85% Instrumentalness • 25% Positiveness
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Ilan Eshkeri
Reforestation (Episode 5 - Humans)
126 bpm • A min • 01:40 • -17.72db
45% Popularity • 47% Danceability • 18% Energy • 17% Liveness
82% Instrumentalness • 5% Positiveness
45% Popularity • 47% Danceability • 18% Energy • 17% Liveness
82% Instrumentalness • 5% Positiveness
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Clint Mansell
The Night Café
113 bpm • D min • 04:07 • -16db
45% Popularity • 34% Danceability • 31% Energy • 6% Liveness
96% Instrumentalness • 4% Positiveness
45% Popularity • 34% Danceability • 31% Energy • 6% Liveness
96% Instrumentalness • 4% Positiveness
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Amelia Warner
Mary Shelley
127 bpm • C Maj • 02:02 • -17.66db
25% Popularity • 21% Danceability • 20% Energy • 6% Liveness
99% Instrumentalness • 8% Positiveness
25% Popularity • 21% Danceability • 20% Energy • 6% Liveness
99% Instrumentalness • 8% Positiveness
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Martin Phipps
Simple Harp Variation No. 2
113 bpm • G# min • 02:30 • -26db
35% Popularity • 41% Danceability • 20% Energy • 9% Liveness
55% Instrumentalness • 19% Positiveness
35% Popularity • 41% Danceability • 20% Energy • 9% Liveness
55% Instrumentalness • 19% Positiveness
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The Newton Brothers
Beginning of the End Movement II (Tea Pa...
113 bpm • C Maj • 02:44 • -23.7db
22% Popularity • 18% Danceability • 12% Energy • 16% Liveness
96% Instrumentalness • 5% Positiveness
22% Popularity • 18% Danceability • 12% Energy • 16% Liveness
96% Instrumentalness • 5% Positiveness
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Paolo Buonvino
Dulcis amor 2
126 bpm • E min • 02:33 • -15.09db
30% Popularity • 29% Danceability • 12% Energy • 6% Liveness
16% Instrumentalness • 4% Positiveness
30% Popularity • 29% Danceability • 12% Energy • 6% Liveness
16% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
Headlines
128 bpm • G# Maj • 04:24 • -16db
38% Popularity • 44% Danceability • 29% Energy • 9% Liveness
72% Instrumentalness • 3% Positiveness
38% Popularity • 44% Danceability • 29% Energy • 9% Liveness
72% Instrumentalness • 3% Positiveness
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Sarah Schachner
Ezio's Family - Origins Version
112 bpm • D min • 02:23 • -12.39db
46% Popularity • 27% Danceability • 34% Energy • 8% Liveness
87% Instrumentalness • 4% Positiveness
46% Popularity • 27% Danceability • 34% Energy • 8% Liveness
87% Instrumentalness • 4% Positiveness
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Steven Price
The Blue Whale
112 bpm • F# min • 05:12 • -16db
39% Popularity • 17% Danceability • 28% Energy • 7% Liveness
92% Instrumentalness • 4% Positiveness
39% Popularity • 17% Danceability • 28% Energy • 7% Liveness
92% Instrumentalness • 4% Positiveness
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Carlos Rafael Rivera
Sygrayem (Let's Play)
112 bpm • C Maj • 02:11 • -21.46db
51% Popularity • 52% Danceability • 11% Energy • 10% Liveness
86% Instrumentalness • 15% Positiveness
51% Popularity • 52% Danceability • 11% Energy • 10% Liveness
86% Instrumentalness • 15% Positiveness
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Lorne Balfe
Everybody is a Genius
112 bpm • C Maj • 02:31 • -14.21db
18% Popularity • 20% Danceability • 29% Energy • 17% Liveness
89% Instrumentalness • 5% Positiveness
18% Popularity • 20% Danceability • 29% Energy • 17% Liveness
89% Instrumentalness • 5% Positiveness
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Pinar Toprak
Boarding the Train
112 bpm • D min • 01:30 • -24db
36% Popularity • 32% Danceability • 13% Energy • 6% Liveness
90% Instrumentalness • 3% Positiveness
36% Popularity • 32% Danceability • 13% Energy • 6% Liveness
90% Instrumentalness • 3% Positiveness
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Ludwig Göransson
Truths
129 bpm • A min • 01:54 • -23.69db
43% Popularity • 25% Danceability • 11% Energy • 9% Liveness
88% Instrumentalness • 3% Positiveness
43% Popularity • 25% Danceability • 11% Energy • 9% Liveness
88% Instrumentalness • 3% Positiveness
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Anne Dudley
Two Brothers
112 bpm • E min • 02:55 • -22db
32% Popularity • 17% Danceability • 8% Energy • 31% Liveness
56% Instrumentalness • 6% Positiveness
32% Popularity • 17% Danceability • 8% Energy • 31% Liveness
56% Instrumentalness • 6% Positiveness
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Harald Kloser
Burning Books
111 bpm • E min • 01:42 • -27db
46% Popularity • 22% Danceability • 5% Energy • 11% Liveness
98% Instrumentalness • 3% Positiveness
46% Popularity • 22% Danceability • 5% Energy • 11% Liveness
98% Instrumentalness • 3% Positiveness
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Ilan Eshkeri
47 Ronin
130 bpm • G Maj • 02:42 • -15.92db
49% Popularity • 42% Danceability • 43% Energy • 10% Liveness
91% Instrumentalness • 12% Positiveness
49% Popularity • 42% Danceability • 43% Energy • 10% Liveness
91% Instrumentalness • 12% Positiveness
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Lorne Balfe
Look to the Stars
129 bpm • C min • 01:16 • -14.62db
26% Popularity • 16% Danceability • 29% Energy • 11% Liveness
86% Instrumentalness • 6% Positiveness
26% Popularity • 16% Danceability • 29% Energy • 11% Liveness
86% Instrumentalness • 6% Positiveness
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Thomas Newman
The Starship Avalon (Main Title)
129 bpm • C min • 04:15 • -28.47db
34% Popularity • 37% Danceability • 3% Energy • 6% Liveness
96% Instrumentalness • 4% Positiveness
34% Popularity • 37% Danceability • 3% Energy • 6% Liveness
96% Instrumentalness • 4% Positiveness
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Henry Jackman
Safe Now
130 bpm • D min • 03:12 • -21db
46% Popularity • 16% Danceability • 1% Energy • 8% Liveness
81% Instrumentalness • 3% Positiveness
46% Popularity • 16% Danceability • 1% Energy • 8% Liveness
81% Instrumentalness • 3% Positiveness
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Alan Silvestri
The Real Hero
130 bpm • G Maj • 05:54 • -18.02db
46% Popularity • 18% Danceability • 6% Energy • 30% Liveness
90% Instrumentalness • 4% Positiveness
46% Popularity • 18% Danceability • 6% Energy • 30% Liveness
90% Instrumentalness • 4% Positiveness
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David Buckley
Dream's Escape
130 bpm • D min • 02:51 • -14.89db
28% Popularity • 17% Danceability • 42% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
28% Popularity • 17% Danceability • 42% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
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Ilan Eshkeri
Centurion
130 bpm • E min • 03:05 • -21db
44% Popularity • 30% Danceability • 22% Energy • 10% Liveness
73% Instrumentalness • 12% Positiveness
44% Popularity • 30% Danceability • 22% Energy • 10% Liveness
73% Instrumentalness • 12% Positiveness
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Harald Kloser
The Day After Tomorrow
110 bpm • C Maj • 03:27 • -20.47db
49% Popularity • 20% Danceability • 21% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
49% Popularity • 20% Danceability • 21% Energy • 9% Liveness
89% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
Okinawa Battlefield
110 bpm • E min • 03:59 • -19db
33% Popularity • 16% Danceability • 18% Energy • 4% Liveness
90% Instrumentalness • 3% Positiveness
33% Popularity • 16% Danceability • 18% Energy • 4% Liveness
90% Instrumentalness • 3% Positiveness
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Martin Phipps
Man on the Moon
110 bpm • A min • 04:09 • -24.85db
29% Popularity • 26% Danceability • 17% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
29% Popularity • 26% Danceability • 17% Energy • 8% Liveness
88% Instrumentalness • 4% Positiveness
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Zoe Mthiyane
Opar
131 bpm • G Maj • 03:28 • -18.83db
29% Popularity • 16% Danceability • 8% Energy • 8% Liveness
82% Instrumentalness • 4% Positiveness
29% Popularity • 16% Danceability • 8% Energy • 8% Liveness
82% Instrumentalness • 4% Positiveness
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David Buckley
The Kingdom of Dreams (Main Title Theme)
131 bpm • G# Maj • 02:14 • -16.24db
41% Popularity • 36% Danceability • 37% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
41% Popularity • 36% Danceability • 37% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
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Marc Streitenfeld
Creatures
110 bpm • A min • 02:09 • -16.29db
46% Popularity • 34% Danceability • 37% Energy • 25% Liveness
56% Instrumentalness • 6% Positiveness
46% Popularity • 34% Danceability • 37% Energy • 25% Liveness
56% Instrumentalness • 6% Positiveness
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Sarah Schachner
Assassin's Creed Origins Main Theme
131 bpm • G# Maj • 03:15 • -12.38db
47% Popularity • 16% Danceability • 53% Energy • 9% Liveness
87% Instrumentalness • 9% Positiveness
47% Popularity • 16% Danceability • 53% Energy • 9% Liveness
87% Instrumentalness • 9% Positiveness
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Rupert Gregson-Williams
I Have No Choice
110 bpm • D min • 03:27 • -21.85db
30% Popularity • 17% Danceability • 8% Energy • 13% Liveness
94% Instrumentalness • 3% Positiveness
30% Popularity • 17% Danceability • 8% Energy • 13% Liveness
94% Instrumentalness • 3% Positiveness
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Jeff Beal
Losing Rachel
110 bpm • G# Maj • 02:26 • -17db
34% Popularity • 34% Danceability • 23% Energy • 10% Liveness
87% Instrumentalness • 6% Positiveness
34% Popularity • 34% Danceability • 23% Energy • 10% Liveness
87% Instrumentalness • 6% Positiveness
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Nicholas Britell
Adagio in C Minor
131 bpm • C min • 01:30 • -17.87db
61% Popularity • 16% Danceability • 8% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
61% Popularity • 16% Danceability • 8% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
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Amie Doherty
A Life Without Limitations
132 bpm • C# Maj • 01:15 • -14db
38% Popularity • 31% Danceability • 16% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
38% Popularity • 31% Danceability • 16% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
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Ryuichi Sakamoto
The Revenant Main Theme
132 bpm • E min • 02:41 • -26.3db
54% Popularity • 16% Danceability • 12% Energy • 10% Liveness
76% Instrumentalness • 5% Positiveness
54% Popularity • 16% Danceability • 12% Energy • 10% Liveness
76% Instrumentalness • 5% Positiveness
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Thomas Newman
The Green Mile
109 bpm • A min • 03:38 • -20.7db
44% Popularity • 16% Danceability • 19% Energy • 17% Liveness
92% Instrumentalness • 4% Positiveness
44% Popularity • 16% Danceability • 19% Energy • 17% Liveness
92% Instrumentalness • 4% Positiveness
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Rupert Gregson-Williams
Pretty Corny
131 bpm • A min • 01:44 • -30.01db
47% Popularity • 17% Danceability • 2% Energy • 10% Liveness
88% Instrumentalness • 7% Positiveness
47% Popularity • 17% Danceability • 2% Energy • 10% Liveness
88% Instrumentalness • 7% Positiveness
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John Ottman
Hope (Xavier's Theme)
132 bpm • A min • 04:48 • -21.29db
45% Popularity • 36% Danceability • 7% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
45% Popularity • 36% Danceability • 7% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
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Lorne Balfe
Iorek's Armor
132 bpm • G# Maj • 02:00 • -13.35db
23% Popularity • 45% Danceability • 50% Energy • 9% Liveness
92% Instrumentalness • 38% Positiveness
23% Popularity • 45% Danceability • 50% Energy • 9% Liveness
92% Instrumentalness • 38% Positiveness
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Roque Baños
Young Nickerson
132 bpm • F Maj • 02:16 • -20.17db
25% Popularity • 32% Danceability • 16% Energy • 10% Liveness
35% Instrumentalness • 4% Positiveness
25% Popularity • 32% Danceability • 16% Energy • 10% Liveness
35% Instrumentalness • 4% Positiveness
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Amelia Warner
King's Cross
109 bpm • D min • 01:26 • -16.57db
31% Popularity • 23% Danceability • 26% Energy • 6% Liveness
95% Instrumentalness • 8% Positiveness
31% Popularity • 23% Danceability • 26% Energy • 6% Liveness
95% Instrumentalness • 8% Positiveness
