We Never Come Back (original mix)
30s preview
- Key
- 9B · G major
- BPM
- 132
- Open Key
- 2d
- Energy
- 59/100
- Pop
- 0/100
- Length
- 7:56
- Released
- 2011
- Genre
- Trance
- Loudness
- -9.8 dB
- Dynamics
- 12.1 dB
- ISRC
- GBKQU1028998
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
We Never Come Back (original mix) runs 132 BPM in G major (9B), a peak-time tempo trance record. The feel is dark and steady. Rhythmically it is built for the dancefloor. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps unusual dynamic range for club music (crest 12 dB). A 2011 production that still circulates in sets. Calmer than 99% of Andrew Rayel's catalogue. For programming, treat it as a mid-set roller.
- Groove:
- groovier than 99% of Andrew Rayel's catalogue
- Reach:
- more underground than 99% of Andrew Rayel's catalogue
- Low end:
- more bass-heavy than 98% of Andrew Rayel's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 39%
- Low
- 30-130 Hz
- 28%
- Low-mid
- 130-570 Hz
- 19%
- Upper-mid
- 570 Hz-2.5 kHz
- 14%
- High
- 2.5-11 kHz
FAQ
What key is We Never Come Back (original mix) in?
We Never Come Back (original mix) by Andrew Rayel is in G major, or 9B on the Camelot wheel.
What BPM is We Never Come Back (original mix)?
We Never Come Back (original mix) runs at 132 BPM, a peak-time tempo track.
What mixes well with We Never Come Back (original mix)?
From 9B it blends harmonically with 10B, 9A, 8B. Moving to 10B lifts the energy a step.
Is We Never Come Back (original mix) good for peak time?
With energy 59 out of 100 at 132 BPM, it works best as a mid-set roller.
Mixes harmonically
9B → 8B · 10B · 9AFrom 9B, 10B (D major) lifts the energy a step; 9A (E minor) settles into the relative minor; 8B (C major) cools the energy down a step.
How to mix it
In 9B at 132 BPM: 10B (D major) — move to 10B to push the floor harder; 9A (E minor) — switch to 9A for a mood change without losing the groove; 8B (C major) — drop to 8B to bring the room down gently.
Pitch range at ±6%: 124-140 BPM — anything in that window beatmatches without sounding stretched.
Key on the fader: without key lock (Master Tempo on CDJs), above roughly +5% it plays a semitone higher, so treat it as 4B rather than 9B; below -5% it reads as 2B. With key lock on, it stays 9B across the whole range.
Programming: a mid-set roller.
Similar tempo
Within ±3 BPM of 132 — beatmatch without a big tempo pull.
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Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 132 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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