2 Forms of Anger
30s preview
- BPM
- 150
- Half-time
- 75
- Open Key
- 3d
- Energy
- 93/100
- Pop
- 18/100
- Length
- 3:15
- Released
- 2010
- Genre
- Downtempo
- Label
- Warp Records
- Loudness
- -7.8 dB
- Dynamics
- 13.9 dB
- ISRC
- GBBPW1000214
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A fast downtempo cut, 2 Forms of Anger sits in D major (10B) at 150 BPM. It reads as dark and driving. It leans atmospheric over strictly danceable. 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 14 dB). A 2010 production that still circulates in sets. Hotter than 98% of Jon Hopkins's catalogue. For programming, treat it as a high-intensity peak cut.
- Tempo:
- faster than 90% of Jon Hopkins's catalogue
- Brightness:
- brighter than 80% of Jon Hopkins's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 35%
- Low
- 30-130 Hz
- 30%
- Low-mid
- 130-570 Hz
- 21%
- Upper-mid
- 570 Hz-2.5 kHz
- 13%
- High
- 2.5-11 kHz
FAQ
What key is 2 Forms of Anger in?
2 Forms of Anger by Jon Hopkins is in D major, or 10B on the Camelot wheel.
What BPM is 2 Forms of Anger?
2 Forms of Anger runs at 150 BPM, a fast track.
What mixes well with 2 Forms of Anger?
From 10B it blends harmonically with 11B, 10A, 9B. Moving to 11B lifts the energy a step.
Is 2 Forms of Anger good for peak time?
With energy 93 out of 100 at 150 BPM, it works best as a high-intensity peak cut.
Mixes harmonically
10B → 9B · 11B · 10AFrom 10B, 11B (A major) lifts the energy a step; 10A (B minor) settles into the relative minor; 9B (G major) cools the energy down a step.
How to mix it
In 10B at 150 BPM: 11B (A major) — move to 11B to push the floor harder; 10A (B minor) — switch to 10A for a mood change without losing the groove; 9B (G major) — drop to 9B to bring the room down gently.
Pitch range at ±6%: 141-159 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 5B rather than 10B; below -5% it reads as 3B. With key lock on, it stays 10B across the whole range.
Programming: a high-intensity peak cut.
Similar tempo
Within ±3 BPM of 150 — beatmatch without a big tempo pull.
More downtempo
More from Jon Hopkins
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 150 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
