and we’ll leave it there…
30s preview
- BPM
- 92
- Double-time
- 184
- Open Key
- 10d
- Energy
- 8/100
- Pop
- 41/100
- Length
- 3:40
- Released
- 2023
- Genre
- Downtempo
- Label
- Mercury KX
- Loudness
- -16.6 dB
- Dynamics
- 15.5 dB
- ISRC
- GBUM72302035
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
At 92 BPM in E♭ major (5B), and we’ll leave it there… is a slow-groove tempo downtempo production. It reads as brooding and low-slung. The groove is loose and less beat-driven. It is vocal-led. Its spectrum is centred in the low-mids, warm and bass-forward. The master keeps real dynamic headroom. The master keeps unusual dynamic range for club music (crest 16 dB). Better known than 92% of Olafur Arnalds's catalogue. In a set it works best as a warm-up or breakdown cut.
- Brightness:
- brighter than 85% of Olafur Arnalds's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 28%
- Low
- 30-130 Hz
- 36%
- Low-mid
- 130-570 Hz
- 25%
- Upper-mid
- 570 Hz-2.5 kHz
- 11%
- High
- 2.5-11 kHz
FAQ
What key is and we’ll leave it there… in?
and we’ll leave it there… by Olafur Arnalds is in E♭ major, or 5B on the Camelot wheel.
What BPM is and we’ll leave it there…?
and we’ll leave it there… runs at 92 BPM, a slow-groove tempo track.
What mixes well with and we’ll leave it there…?
From 5B it blends harmonically with 6B, 5A, 4B. Moving to 6B lifts the energy a step.
Is and we’ll leave it there… good for peak time?
With energy 8 out of 100 at 92 BPM, it works best as a warm-up or breakdown cut.
Mixes harmonically
5B → 4B · 6B · 5AFrom 5B, 6B (B♭ major) lifts the energy a step; 5A (C minor) settles into the relative minor; 4B (A♭ major) cools the energy down a step.
How to mix it
In 5B at 92 BPM: 6B (B♭ major) — move to 6B to push the floor harder; 5A (C minor) — switch to 5A for a mood change without losing the groove; 4B (A♭ major) — drop to 4B to bring the room down gently.
Pitch range at ±6%: 86-98 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 12B rather than 5B; below -5% it reads as 10B. With key lock on, it stays 5B across the whole range.
Programming: a warm-up or breakdown cut — early set or after a peak to reset the room.
Similar tempo
Within ±3 BPM of 92 — beatmatch without a big tempo pull.
More downtempo
More from Olafur Arnalds
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 92 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
