Songs like X15 Jet by Philip Sheppard
Based on a tempo of (+/- 10%) and a similar genre
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Clint Mansell
Out Of Blue
81 bpm • D min • 02:02 • -19db
40% Popularity • 15% Danceability • 14% Energy • 12% Liveness
83% Instrumentalness • 17% Positiveness
40% Popularity • 15% Danceability • 14% Energy • 12% Liveness
83% Instrumentalness • 17% Positiveness
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Bear McCreary
Letting Go
81 bpm • G min • 09:25 • -20.92db
46% Popularity • 13% Danceability • 10% Energy • 8% Liveness
96% Instrumentalness • 4% Positiveness
46% Popularity • 13% Danceability • 10% Energy • 8% Liveness
96% Instrumentalness • 4% Positiveness
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Hendyamps Studios
Silver Linings
81 bpm • G min • 02:58 • -16.23db
37% Popularity • 33% Danceability • 27% Energy • 11% Liveness
85% Instrumentalness • 23% Positiveness
37% Popularity • 33% Danceability • 27% Energy • 11% Liveness
85% Instrumentalness • 23% Positiveness
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Ludwig Göransson
American Prometheus
80 bpm • C# min • 02:37 • -21.31db
62% Popularity • 11% Danceability • 14% Energy • 7% Liveness
44% Instrumentalness • 6% Positiveness
62% Popularity • 11% Danceability • 14% Energy • 7% Liveness
44% Instrumentalness • 6% Positiveness
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Emile Mosseri
Jacob's Prayer
81 bpm • C# Maj • 01:34 • -20.62db
56% Popularity • 29% Danceability • 14% Energy • 8% Liveness
94% Instrumentalness • 11% Positiveness
56% Popularity • 29% Danceability • 14% Energy • 8% Liveness
94% Instrumentalness • 11% Positiveness
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West Dylan Thordson
David & Elijah
80 bpm • C Maj • 01:45 • -25.69db
45% Popularity • 61% Danceability • 14% Energy • 11% Liveness
90% Instrumentalness • 49% Positiveness
45% Popularity • 61% Danceability • 14% Energy • 11% Liveness
90% Instrumentalness • 49% Positiveness
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Christopher Larkin
Reflection
80 bpm • D min • 01:39 • -18.86db
55% Popularity • 15% Danceability • 16% Energy • 35% Liveness
96% Instrumentalness • 4% Positiveness
55% Popularity • 15% Danceability • 16% Energy • 35% Liveness
96% Instrumentalness • 4% Positiveness
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Jeremy Soule
Solitude
82 bpm • G min • 02:10 • -22.48db
56% Popularity • 15% Danceability • 9% Energy • 9% Liveness
61% Instrumentalness • 3% Positiveness
56% Popularity • 15% Danceability • 9% Energy • 9% Liveness
61% Instrumentalness • 3% Positiveness
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Hendyamps Studios
Beginning to End: Act II
82 bpm • C min • 05:11 • -17.21db
27% Popularity • 17% Danceability • 13% Energy • 11% Liveness
77% Instrumentalness • 3% Positiveness
27% Popularity • 17% Danceability • 13% Energy • 11% Liveness
77% Instrumentalness • 3% Positiveness
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Christian Reindl
Freya
82 bpm • C min • 03:07 • -9.64db
37% Popularity • 25% Danceability • 48% Energy • 7% Liveness
55% Instrumentalness • 4% Positiveness
37% Popularity • 25% Danceability • 48% Energy • 7% Liveness
55% Instrumentalness • 4% Positiveness
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Samuel Kim
Avatar's Love
82 bpm • D Maj • 03:25 • -9db
49% Popularity • 11% Danceability • 32% Energy • 8% Liveness
92% Instrumentalness • 4% Positiveness
49% Popularity • 11% Danceability • 32% Energy • 8% Liveness
92% Instrumentalness • 4% Positiveness
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Michael Giacchino
The Batman
80 bpm • A# min • 06:47 • -16.52db
57% Popularity • 21% Danceability • 15% Energy • 10% Liveness
90% Instrumentalness • 5% Positiveness
57% Popularity • 21% Danceability • 15% Energy • 10% Liveness
90% Instrumentalness • 5% Positiveness
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Ludwig Göransson
Groves
80 bpm • F# Maj • 03:03 • -21.12db
56% Popularity • 44% Danceability • 20% Energy • 12% Liveness
91% Instrumentalness • 4% Positiveness
56% Popularity • 44% Danceability • 20% Energy • 12% Liveness
91% Instrumentalness • 4% Positiveness
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Secession Studios
Demise of a Nation
80 bpm • C min • 02:26 • -14.04db
49% Popularity • 38% Danceability • 49% Energy • 11% Liveness
86% Instrumentalness • 4% Positiveness
49% Popularity • 38% Danceability • 49% Energy • 11% Liveness
86% Instrumentalness • 4% Positiveness
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Nima Fakhrara
They All Look The Same - Connor
82 bpm • G# Maj • 03:40 • -8.96db
27% Popularity • 51% Danceability • 95% Energy • 11% Liveness
63% Instrumentalness • 46% Positiveness
27% Popularity • 51% Danceability • 95% Energy • 11% Liveness
63% Instrumentalness • 46% Positiveness
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Scott Buckley
Undertow
80 bpm • F# min • 04:10 • -22.52db
32% Popularity • 38% Danceability • 7% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
32% Popularity • 38% Danceability • 7% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
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West Dylan Thordson
Casey Tells the Truth
80 bpm • C# Maj • 01:40 • -38db
38% Popularity • 27% Danceability • 0% Energy • 12% Liveness
92% Instrumentalness • 5% Positiveness
38% Popularity • 27% Danceability • 0% Energy • 12% Liveness
92% Instrumentalness • 5% Positiveness
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Justin Hurwitz
The Landing
80 bpm • G min • 05:31 • -15.24db
44% Popularity • 17% Danceability • 32% Energy • 10% Liveness
93% Instrumentalness • 28% Positiveness
44% Popularity • 17% Danceability • 32% Energy • 10% Liveness
93% Instrumentalness • 28% Positiveness
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Ludwig Göransson
Fission
80 bpm • F# min • 04:38 • -21.83db
58% Popularity • 15% Danceability • 7% Energy • 9% Liveness
83% Instrumentalness • 4% Positiveness
58% Popularity • 15% Danceability • 7% Energy • 9% Liveness
83% Instrumentalness • 4% Positiveness
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Kyle Dixon & Michael Stein
This Isn't You
80 bpm • B Maj • 02:23 • -29.22db
41% Popularity • 13% Danceability • 2% Energy • 9% Liveness
87% Instrumentalness • 4% Positiveness
41% Popularity • 13% Danceability • 2% Energy • 9% Liveness
87% Instrumentalness • 4% Positiveness
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Philip Sheppard
Champion Material
82 bpm • A min • 01:39 • -17.08db
1% Popularity • 28% Danceability • 31% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
1% Popularity • 28% Danceability • 31% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
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Jeff Beal
Next In Line
82 bpm • D min • 01:46 • -18db
43% Popularity • 26% Danceability • 27% Energy • 12% Liveness
98% Instrumentalness • 6% Positiveness
43% Popularity • 26% Danceability • 27% Energy • 12% Liveness
98% Instrumentalness • 6% Positiveness
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Daniel Hart
The Secret In The Wall
82 bpm • C Maj • 04:11 • -14.29db
31% Popularity • 18% Danceability • 6% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
31% Popularity • 18% Danceability • 6% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
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Joep Beving
Beving: Ala
79 bpm • G min • 02:00 • -22.84db
66% Popularity • 32% Danceability • 12% Energy • 11% Liveness
93% Instrumentalness • 30% Positiveness
66% Popularity • 32% Danceability • 12% Energy • 11% Liveness
93% Instrumentalness • 30% Positiveness
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Bear McCreary
Memories of Mother
79 bpm • D min • 03:39 • -15.15db
48% Popularity • 12% Danceability • 20% Energy • 9% Liveness
96% Instrumentalness • 4% Positiveness
48% Popularity • 12% Danceability • 20% Energy • 9% Liveness
96% Instrumentalness • 4% Positiveness
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Orchestra of the Swan
Dies natalis, Op. 8: V. The Salutation
83 bpm • G Maj • 04:27 • -16.46db
1% Popularity • 15% Danceability • 22% Energy • 11% Liveness
1% Instrumentalness • 16% Positiveness
1% Popularity • 15% Danceability • 22% Energy • 11% Liveness
1% Instrumentalness • 16% Positiveness
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Carlos Rafael Rivera
Kentucky State Championship 1963
79 bpm • A min • 01:12 • -21.53db
52% Popularity • 38% Danceability • 24% Energy • 6% Liveness
96% Instrumentalness • 27% Positiveness
52% Popularity • 38% Danceability • 24% Energy • 6% Liveness
96% Instrumentalness • 27% Positiveness
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Alexandre Desplat
Extremely Loud and Incredibly Close
79 bpm • A min • 01:57 • -31.11db
53% Popularity • 47% Danceability • 1% Energy • 6% Liveness
89% Instrumentalness • 7% Positiveness
53% Popularity • 47% Danceability • 1% Energy • 6% Liveness
89% Instrumentalness • 7% Positiveness
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Thomas Newman
Nemo Egg (Main Title)
79 bpm • F Maj • 01:16 • -27.25db
65% Popularity • 16% Danceability • 2% Energy • 10% Liveness
97% Instrumentalness • 6% Positiveness
65% Popularity • 16% Danceability • 2% Energy • 10% Liveness
97% Instrumentalness • 6% Positiveness
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Harry Gregson-Williams
Only The Beginning of The Adventure
83 bpm • G# Maj • 05:32 • -18.08db
53% Popularity • 19% Danceability • 17% Energy • 10% Liveness
62% Instrumentalness • 4% Positiveness
53% Popularity • 19% Danceability • 17% Energy • 10% Liveness
62% Instrumentalness • 4% Positiveness
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Invadable Harmony
Lament
79 bpm • C min • 02:00 • -31.08db
55% Popularity • 55% Danceability • 5% Energy • 7% Liveness
91% Instrumentalness • 27% Positiveness
55% Popularity • 55% Danceability • 5% Energy • 7% Liveness
91% Instrumentalness • 27% Positiveness
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Natalie Holt
TVA First View
83 bpm • C Maj • 01:06 • -13db
48% Popularity • 8% Danceability • 34% Energy • 13% Liveness
99% Instrumentalness • 4% Positiveness
48% Popularity • 8% Danceability • 34% Energy • 13% Liveness
99% Instrumentalness • 4% Positiveness
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Secession Studios
Poetry of Madness
79 bpm • A min • 03:18 • -14.2db
32% Popularity • 12% Danceability • 18% Energy • 5% Liveness
86% Instrumentalness • 4% Positiveness
32% Popularity • 12% Danceability • 18% Energy • 5% Liveness
86% Instrumentalness • 4% Positiveness
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Marco Beltrami
Leaving the Farm
83 bpm • E Maj • 01:34 • -21.34db
33% Popularity • 9% Danceability • 12% Energy • 9% Liveness
83% Instrumentalness • 4% Positiveness
33% Popularity • 9% Danceability • 12% Energy • 9% Liveness
83% Instrumentalness • 4% Positiveness
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Thomas Newman
Come Back to Us
79 bpm • G min • 05:39 • -30.22db
52% Popularity • 7% Danceability • 2% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
52% Popularity • 7% Danceability • 2% Energy • 9% Liveness
94% Instrumentalness • 4% Positiveness
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Daniel Hart
Now I'm Ready, I'm Ready Now
83 bpm • F Maj • 04:01 • -15.26db
29% Popularity • 16% Danceability • 27% Energy • 10% Liveness
56% Instrumentalness • 3% Positiveness
29% Popularity • 16% Danceability • 27% Energy • 10% Liveness
56% Instrumentalness • 3% Positiveness
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Harry Gregson-Williams
Fairytale
83 bpm • G# Maj • 01:26 • -18.77db
61% Popularity • 9% Danceability • 16% Energy • 46% Liveness
50% Instrumentalness • 10% Positiveness
61% Popularity • 9% Danceability • 16% Energy • 46% Liveness
50% Instrumentalness • 10% Positiveness
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Howard Shore
The Breaking of the Fellowship
79 bpm • D Maj • 07:20 • -20.55db
58% Popularity • 13% Danceability • 14% Energy • 9% Liveness
48% Instrumentalness • 5% Positiveness
58% Popularity • 13% Danceability • 14% Energy • 9% Liveness
48% Instrumentalness • 5% Positiveness
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J Scott Rakozy
Slytherin Common Room
78 bpm • C Maj • 03:59 • -25.93db
40% Popularity • 9% Danceability • 6% Energy • 11% Liveness
97% Instrumentalness • 4% Positiveness
40% Popularity • 9% Danceability • 6% Energy • 11% Liveness
97% Instrumentalness • 4% Positiveness
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Chris Warner
Whirlpool Galaxy
84 bpm • A min • 03:13 • -13.02db
28% Popularity • 14% Danceability • 19% Energy • 5% Liveness
14% Instrumentalness • 7% Positiveness
28% Popularity • 14% Danceability • 19% Energy • 5% Liveness
14% Instrumentalness • 7% Positiveness
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Clint Mansell
At Eternity's Gate
84 bpm • A min • 03:40 • -19.19db
28% Popularity • 15% Danceability • 12% Energy • 11% Liveness
93% Instrumentalness • 3% Positiveness
28% Popularity • 15% Danceability • 12% Energy • 11% Liveness
93% Instrumentalness • 3% Positiveness
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Philip Sheppard
The Eagle Has Wings
84 bpm • A Maj • 01:55 • -17.4db
5% Popularity • 10% Danceability • 23% Energy • 11% Liveness
31% Instrumentalness • 3% Positiveness
5% Popularity • 10% Danceability • 23% Energy • 11% Liveness
31% Instrumentalness • 3% Positiveness
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Nicholas Hooper
When Ginny Kissed Harry
84 bpm • E min • 02:38 • -28.26db
55% Popularity • 48% Danceability • 6% Energy • 4% Liveness
96% Instrumentalness • 8% Positiveness
55% Popularity • 48% Danceability • 6% Energy • 4% Liveness
96% Instrumentalness • 8% Positiveness
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Howard Shore
The Council of Elrond [Theme for Aragor...
84 bpm • C# Maj • 03:49 • -20.03db
62% Popularity • 10% Danceability • 11% Energy • 11% Liveness
93% Instrumentalness • 4% Positiveness
62% Popularity • 10% Danceability • 11% Energy • 11% Liveness
93% Instrumentalness • 4% Positiveness
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Simon Emmerson
Five Spaces
84 bpm • A min • 03:49 • -36.2db
0% Popularity • 28% Danceability • 4% Energy • 20% Liveness
55% Instrumentalness • 5% Positiveness
0% Popularity • 28% Danceability • 4% Energy • 20% Liveness
55% Instrumentalness • 5% Positiveness
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Max Richter
The Onrush of Events
78 bpm • G min • 02:05 • -17db
29% Popularity • 37% Danceability • 26% Energy • 11% Liveness
68% Instrumentalness • 8% Positiveness
29% Popularity • 37% Danceability • 26% Energy • 11% Liveness
68% Instrumentalness • 8% Positiveness
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Emile Mosseri
Jacob and the Stone
84 bpm • C# Maj • 01:38 • -18db
74% Popularity • 19% Danceability • 17% Energy • 12% Liveness
94% Instrumentalness • 10% Positiveness
74% Popularity • 19% Danceability • 17% Energy • 12% Liveness
94% Instrumentalness • 10% Positiveness
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Nima Fakhrara
Now - Connor
84 bpm • D Maj • 02:19 • -8db
39% Popularity • 22% Danceability • 97% Energy • 13% Liveness
90% Instrumentalness • 29% Positiveness
39% Popularity • 22% Danceability • 97% Energy • 13% Liveness
90% Instrumentalness • 29% Positiveness
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Joe Hisaishi
The Sixth Station
78 bpm • E min • 03:38 • -25.77db
55% Popularity • 30% Danceability • 5% Energy • 9% Liveness
80% Instrumentalness • 4% Positiveness
55% Popularity • 30% Danceability • 5% Energy • 9% Liveness
80% Instrumentalness • 4% Positiveness
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Thomas Newman
Any Other Name
78 bpm • G min • 04:06 • -33.19db
56% Popularity • 30% Danceability • 1% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
56% Popularity • 30% Danceability • 1% Energy • 10% Liveness
96% Instrumentalness • 4% Positiveness
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Keith Merrill
An Isolated Moment
78 bpm • G# Maj • 04:21 • -16db
40% Popularity • 30% Danceability • 19% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
40% Popularity • 30% Danceability • 19% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
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Austin Wintory
I Was Born for This
84 bpm • B min • 04:46 • -14db
38% Popularity • 11% Danceability • 28% Energy • 15% Liveness
1% Instrumentalness • 4% Positiveness
38% Popularity • 11% Danceability • 28% Energy • 15% Liveness
1% Instrumentalness • 4% Positiveness
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Eternal Eclipse
Hidden Machinations
84 bpm • D min • 02:57 • -8.68db
48% Popularity • 45% Danceability • 70% Energy • 18% Liveness
70% Instrumentalness • 16% Positiveness
48% Popularity • 45% Danceability • 70% Energy • 18% Liveness
70% Instrumentalness • 16% Positiveness
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John Paesano
We Are People - Markus
77 bpm • A# min • 05:46 • -12.72db
24% Popularity • 7% Danceability • 50% Energy • 11% Liveness
90% Instrumentalness • 13% Positiveness
24% Popularity • 7% Danceability • 50% Energy • 11% Liveness
90% Instrumentalness • 13% Positiveness
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Craig Armstrong
Hollow in the Ferns
85 bpm • D min • 03:38 • -17.3db
47% Popularity • 22% Danceability • 14% Energy • 12% Liveness
86% Instrumentalness • 5% Positiveness
47% Popularity • 22% Danceability • 14% Energy • 12% Liveness
86% Instrumentalness • 5% Positiveness
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Peter Samuels
Adagio For Strings
85 bpm • A# min • 10:00 • -17db
43% Popularity • 16% Danceability • 13% Energy • 9% Liveness
88% Instrumentalness • 3% Positiveness
43% Popularity • 16% Danceability • 13% Energy • 9% Liveness
88% Instrumentalness • 3% Positiveness
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Clint Mansell
The Sower With Setting Sun
85 bpm • G Maj • 04:47 • -17.24db
20% Popularity • 9% Danceability • 20% Energy • 11% Liveness
95% Instrumentalness • 4% Positiveness
20% Popularity • 9% Danceability • 20% Energy • 11% Liveness
95% Instrumentalness • 4% Positiveness
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Thomas Newman
Gehenna
85 bpm • A Maj • 03:34 • -30.02db
33% Popularity • 21% Danceability • 3% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
33% Popularity • 21% Danceability • 3% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
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The Newton Brothers
Go Tomorrow
77 bpm • D Maj • 02:37 • -32.27db
45% Popularity • 18% Danceability • 0% Energy • 8% Liveness
93% Instrumentalness • 6% Positiveness
45% Popularity • 18% Danceability • 0% Energy • 8% Liveness
93% Instrumentalness • 6% Positiveness
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Bear McCreary
Ashes
86 bpm • C Maj • 06:09 • -16.51db
44% Popularity • 9% Danceability • 19% Energy • 11% Liveness
55% Instrumentalness • 3% Positiveness
44% Popularity • 9% Danceability • 19% Energy • 11% Liveness
55% Instrumentalness • 3% Positiveness
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Rob Simonsen
Safe Return
77 bpm • D# min • 03:52 • -11db
40% Popularity • 9% Danceability • 28% Energy • 16% Liveness
82% Instrumentalness • 4% Positiveness
40% Popularity • 9% Danceability • 28% Energy • 16% Liveness
82% Instrumentalness • 4% 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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Ludwig Göransson
Meeting Kitty
76 bpm • C min • 05:47 • -20.2db
57% Popularity • 10% Danceability • 12% Energy • 10% Liveness
89% Instrumentalness • 3% Positiveness
57% Popularity • 10% Danceability • 12% Energy • 10% Liveness
89% Instrumentalness • 3% Positiveness
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Thomas Newman
American Beauty
77 bpm • G min • 03:06 • -31.96db
61% Popularity • 21% Danceability • 1% Energy • 9% Liveness
96% Instrumentalness • 5% Positiveness
61% Popularity • 21% Danceability • 1% Energy • 9% Liveness
96% Instrumentalness • 5% 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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Christoffer Moe Ditlevsen
Partners in Crime
86 bpm • E min • 03:27 • -14.11db
39% Popularity • 51% Danceability • 28% Energy • 9% Liveness
89% Instrumentalness • 41% Positiveness
39% Popularity • 51% Danceability • 28% Energy • 9% Liveness
89% Instrumentalness • 41% Positiveness
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Clint Mansell
Together We Will Live Forever
76 bpm • G min • 05:01 • -25.5db
49% Popularity • 48% Danceability • 2% Energy • 9% Liveness
93% Instrumentalness • 20% Positiveness
49% Popularity • 48% Danceability • 2% Energy • 9% Liveness
93% Instrumentalness • 20% Positiveness
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John Murphy
Boy
86 bpm • D min • 03:40 • -18db
19% Popularity • 22% Danceability • 6% Energy • 11% Liveness
97% Instrumentalness • 3% Positiveness
19% Popularity • 22% Danceability • 6% Energy • 11% Liveness
97% Instrumentalness • 3% Positiveness
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Max Richter
The Quality of Mercy
76 bpm • G# Maj • 04:12 • -19.85db
41% Popularity • 11% Danceability • 11% Energy • 10% Liveness
87% Instrumentalness • 4% Positiveness
41% Popularity • 11% Danceability • 11% Energy • 10% Liveness
87% Instrumentalness • 4% Positiveness
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Thomas Newman
The Night Window
77 bpm • A# Maj • 03:41 • -20.65db
44% Popularity • 18% Danceability • 10% Energy • 10% Liveness
2% Instrumentalness • 3% Positiveness
44% Popularity • 18% Danceability • 10% Energy • 10% Liveness
2% Instrumentalness • 3% Positiveness
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Son Lux
In Another Life
86 bpm • D Maj • 02:24 • -15.66db
44% Popularity • 29% Danceability • 22% Energy • 8% Liveness
94% Instrumentalness • 11% Positiveness
44% Popularity • 29% Danceability • 22% Energy • 8% Liveness
94% Instrumentalness • 11% Positiveness
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Secession Studios
Darkness of Light
86 bpm • F# Maj • 02:25 • -15.5db
46% Popularity • 40% Danceability • 27% Energy • 9% Liveness
89% Instrumentalness • 5% Positiveness
46% Popularity • 40% Danceability • 27% Energy • 9% Liveness
89% Instrumentalness • 5% Positiveness
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Gustavo Santaolalla
Unbound
76 bpm • A min • 01:57 • -24.03db
44% Popularity • 14% Danceability • 3% Energy • 10% Liveness
89% Instrumentalness • 4% Positiveness
44% Popularity • 14% Danceability • 3% Energy • 10% Liveness
89% Instrumentalness • 4% Positiveness
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Hildur Guðnadóttir
Bathroom Dance
86 bpm • G# min • 02:08 • -19.22db
54% Popularity • 17% Danceability • 7% Energy • 8% Liveness
26% Instrumentalness • 4% Positiveness
54% Popularity • 17% Danceability • 7% Energy • 8% Liveness
26% Instrumentalness • 4% Positiveness
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Amie Doherty
The Life You Were Living
76 bpm • A# min • 01:19 • -17.1db
31% Popularity • 20% Danceability • 7% Energy • 8% Liveness
62% Instrumentalness • 4% Positiveness
31% Popularity • 20% Danceability • 7% Energy • 8% Liveness
62% Instrumentalness • 4% Positiveness
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Philip Sheppard
Crawler
86 bpm • E min • 01:47 • -15.84db
4% Popularity • 17% Danceability • 20% Energy • 10% Liveness
84% Instrumentalness • 6% Positiveness
4% Popularity • 17% Danceability • 20% Energy • 10% Liveness
84% Instrumentalness • 6% Positiveness
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John Paesano
This Is The End - Markus
76 bpm • A# min • 03:18 • -16db
27% Popularity • 14% Danceability • 13% Energy • 12% Liveness
94% Instrumentalness • 5% Positiveness
27% Popularity • 14% Danceability • 13% Energy • 12% Liveness
94% Instrumentalness • 5% Positiveness
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Ludwig Göransson
A Lowly Shoe Salesman
87 bpm • C# min • 03:34 • -27.63db
60% Popularity • 20% Danceability • 5% Energy • 10% Liveness
94% Instrumentalness • 3% Positiveness
60% Popularity • 20% Danceability • 5% Energy • 10% Liveness
94% Instrumentalness • 3% Positiveness
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Claude Debussy
Clair De Lune
87 bpm • C# Maj • 05:06 • -18.24db
57% Popularity • 20% Danceability • 13% Energy • 10% Liveness
0% Instrumentalness • 8% Positiveness
57% Popularity • 20% Danceability • 13% Energy • 10% Liveness
0% Instrumentalness • 8% Positiveness
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Yehezkel Raz
Ballerina
76 bpm • D# Maj • 01:11 • -35.71db
75% Popularity • 38% Danceability • 2% Energy • 9% Liveness
95% Instrumentalness • 43% Positiveness
75% Popularity • 38% Danceability • 2% Energy • 9% Liveness
95% Instrumentalness • 43% Positiveness
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Piotr Musiał
Frostpunk Theme
75 bpm • C min • 03:06 • -13.49db
45% Popularity • 26% Danceability • 50% Energy • 7% Liveness
88% Instrumentalness • 18% Positiveness
45% Popularity • 26% Danceability • 50% Energy • 7% Liveness
88% Instrumentalness • 18% Positiveness
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Philip Sheppard
Go for Tli
87 bpm • G Maj • 01:43 • -15.01db
5% Popularity • 24% Danceability • 18% Energy • 7% Liveness
94% Instrumentalness • 20% Positiveness
5% Popularity • 24% Danceability • 18% Energy • 7% Liveness
94% Instrumentalness • 20% Positiveness
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James Horner
Shutting down Grace's lab
87 bpm • E min • 02:47 • -27.04db
42% Popularity • 9% Danceability • 4% Energy • 10% Liveness
6% Instrumentalness • 3% Positiveness
42% Popularity • 9% Danceability • 4% Energy • 10% Liveness
6% Instrumentalness • 3% Positiveness
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Jeremy Soule
The Streets of Whiterun
75 bpm • C# min • 04:04 • -17.68db
61% Popularity • 7% Danceability • 19% Energy • 11% Liveness
89% Instrumentalness • 4% Positiveness
61% Popularity • 7% Danceability • 19% Energy • 11% Liveness
89% Instrumentalness • 4% Positiveness
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John Paesano
I Am Markus - Markus
87 bpm • C# Maj • 01:47 • -15.17db
24% Popularity • 10% Danceability • 26% Energy • 7% Liveness
77% Instrumentalness • 3% Positiveness
24% Popularity • 10% Danceability • 26% Energy • 7% Liveness
77% Instrumentalness • 3% Positiveness
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Hans Zimmer
Herald of the Change
87 bpm • D Maj • 05:01 • -28.87db
58% Popularity • 9% Danceability • 3% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
58% Popularity • 9% Danceability • 3% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
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Son Lux
Clair de Lune (Pied au Piano)
87 bpm • C# Maj • 01:38 • -19.95db
40% Popularity • 30% Danceability • 16% Energy • 9% Liveness
93% Instrumentalness • 15% Positiveness
40% Popularity • 30% Danceability • 16% Energy • 9% Liveness
93% Instrumentalness • 15% Positiveness
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Bear McCreary
Reconciliation
88 bpm • G# Maj • 02:36 • -24db
28% Popularity • 10% Danceability • 8% Energy • 7% Liveness
89% Instrumentalness • 4% Positiveness
28% Popularity • 10% Danceability • 8% Energy • 7% Liveness
89% Instrumentalness • 4% Positiveness
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Jonas Kvarnström
Cloud Atlas - Sextet - Piano & Orchestr...
75 bpm • C Maj • 04:15 • -18.35db
44% Popularity • 20% Danceability • 7% Energy • 6% Liveness
90% Instrumentalness • 9% Positiveness
44% Popularity • 20% Danceability • 7% Energy • 6% Liveness
90% Instrumentalness • 9% Positiveness
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Amie Doherty
Large Ventricles
75 bpm • E min • 03:17 • -18.01db
13% Popularity • 24% Danceability • 10% Energy • 10% Liveness
72% Instrumentalness • 3% Positiveness
13% Popularity • 24% Danceability • 10% Energy • 10% Liveness
72% Instrumentalness • 3% Positiveness
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Philip Sheppard
And Then Time Stops - Kara
87 bpm • C min • 00:54 • -25.18db
30% Popularity • 19% Danceability • 8% Energy • 10% Liveness
85% Instrumentalness • 11% Positiveness
30% Popularity • 19% Danceability • 8% Energy • 10% Liveness
85% Instrumentalness • 11% Positiveness
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Max Richter
Dona Nobis Pacem 1
88 bpm • F Maj • 03:48 • -16.98db
40% Popularity • 9% Danceability • 7% Energy • 7% Liveness
96% Instrumentalness • 3% Positiveness
40% Popularity • 9% Danceability • 7% Energy • 7% Liveness
96% Instrumentalness • 3% Positiveness
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The Newton Brothers
The Haunting of Bly Manor (Main Titles)
75 bpm • G# Maj • 01:06 • -12.76db
31% Popularity • 15% Danceability • 49% Energy • 11% Liveness
70% Instrumentalness • 14% Positiveness
31% Popularity • 15% Danceability • 49% Energy • 11% Liveness
70% Instrumentalness • 14% Positiveness
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Orchestra of the Swan
The Art of Dancing: V. Trance
75 bpm • B Maj • 04:07 • -20.68db
3% Popularity • 8% Danceability • 7% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
3% Popularity • 8% Danceability • 7% Energy • 10% Liveness
93% Instrumentalness • 4% Positiveness
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Howard Shore
Evenstar
74 bpm • E min • 03:15 • -26.19db
58% Popularity • 12% Danceability • 4% Energy • 10% Liveness
85% Instrumentalness • 3% Positiveness
58% Popularity • 12% Danceability • 4% Energy • 10% Liveness
85% Instrumentalness • 3% Positiveness
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Danny Bensi and Saunder Jurriaans
Make History
88 bpm • C Maj • 01:13 • -33.41db
40% Popularity • 20% Danceability • 1% Energy • 7% Liveness
89% Instrumentalness • 4% Positiveness
40% Popularity • 20% Danceability • 1% Energy • 7% Liveness
89% Instrumentalness • 4% Positiveness
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Philip Sheppard
What is a Mother - Kara
87 bpm • A min • 04:05 • -17.32db
23% Popularity • 11% Danceability • 20% Energy • 10% Liveness
92% Instrumentalness • 5% Positiveness
23% Popularity • 11% Danceability • 20% Energy • 10% Liveness
92% Instrumentalness • 5% Positiveness
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Ludovico Einaudi
Divenire
88 bpm • G Maj • 06:42 • -15.3db
60% Popularity • 14% Danceability • 22% Energy • 7% Liveness
86% Instrumentalness • 8% Positiveness
60% Popularity • 14% Danceability • 22% Energy • 7% Liveness
86% Instrumentalness • 8% Positiveness
