Out of Nowhere (Stoneface & Terminal remix)
30s preview
- Key
- 7A · D minor
- BPM
- 140
- Half-time
- 70
- Open Key
- 12m
- Energy
- 99/100
- Pop
- 2/100
- Length
- 6:58
- Released
- 2009
- Genre
- Trance
- Loudness
- -5.6 dB
- Dynamics
- 10.0 dB
- ISRC
- NLF712300325
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Out of Nowhere (Stoneface & Terminal remix) is a driving up-tempo trance track in D minor (7A) at 140 BPM. The feel is punchy, neutral in mood. Vocals read as instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. A 2009 production that still circulates in sets. Brighter than 86% of John O'Callaghan's catalogue. In a set it works best as a peak-time weapon.
- Energy:
- hotter than 80% of John O'Callaghan's catalogue
- Groove:
- less groove-driven than 75% of John O'Callaghan's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 35%
- Low
- 30-130 Hz
- 28%
- Low-mid
- 130-570 Hz
- 21%
- Upper-mid
- 570 Hz-2.5 kHz
- 16%
- High
- 2.5-11 kHz
FAQ
What key is Out of Nowhere (Stoneface & Terminal remix) in?
Out of Nowhere (Stoneface & Terminal remix) by John O'Callaghan is in D minor, or 7A on the Camelot wheel.
What BPM is Out of Nowhere (Stoneface & Terminal remix)?
Out of Nowhere (Stoneface & Terminal remix) runs at 140 BPM, a driving up-tempo track.
What mixes well with Out of Nowhere (Stoneface & Terminal remix)?
From 7A it blends harmonically with 8A, 7B, 6A. Moving to 8A lifts the energy a step.
Is Out of Nowhere (Stoneface & Terminal remix) good for peak time?
With energy 99 out of 100 at 140 BPM, it works best as a peak-time weapon.
Mixes harmonically
7A → 6A · 8A · 7BFrom 7A, 8A (A minor) lifts the energy a step; 7B (F major) brightens to the relative major; 6A (G minor) cools the energy down a step.
How to mix it
In 7A at 140 BPM: 8A (A minor) — move to 8A to push the floor harder; 7B (F major) — switch to 7B for a mood change without losing the groove; 6A (G minor) — drop to 6A to bring the room down gently.
Pitch range at ±6%: 132-148 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 2A rather than 7A; below -5% it reads as 12A. With key lock on, it stays 7A across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 99/100).
Similar tempo
Within ±3 BPM of 140 — beatmatch without a big tempo pull.
![Beautiful [CC452] (Aly & Fila Remix) by Ferry Corsten cover art](https://i.scdn.co/image/ab67616d00001e027219d97094554beb0ad8ed9c){kind=small}
![Beautiful [CC453] (Aly & Fila Remix) by Ferry Corsten cover art](https://i.scdn.co/image/ab67616d00001e025545b90a1f4d36f19bab0063){kind=small}
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Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 140 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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