I'm Comin' (To Take You Away)
30s preview
- BPM
- 132
- Open Key
- 8m
- Energy
- 82/100
- Pop
- 0/100
- Length
- 6:13
- Released
- 1994
- Album
- 45RPM
- Genre
- Trance
- Loudness
- -13.2 dB
- Dynamics
- 14.8 dB
- ISRC
- DEW760900142
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- I'm Comin' (To Take You Away)original1B · 132
I'm Comin' (To Take You Away): peak-time tempo trance, B♭ minor (3A), 132 BPM. The feel is bright and euphoric. The groove is strong and floor-ready. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps real dynamic headroom. The master keeps unusual dynamic range for club music (crest 15 dB). A 1994 production that still circulates in sets. More underground than 99% of Paul van Dyk's catalogue. For programming, treat it as a peak-time weapon.
- Low end:
- more bass-heavy than 97% of Paul van Dyk's catalogue
- Groove:
- groovier than 96% of Paul van Dyk's catalogue
- Brightness:
- brighter than 92% of Paul van Dyk's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 40%
- Low
- 30-130 Hz
- 30%
- Low-mid
- 130-570 Hz
- 18%
- Upper-mid
- 570 Hz-2.5 kHz
- 11%
- High
- 2.5-11 kHz
FAQ
What key is I'm Comin' (To Take You Away) in?
I'm Comin' (To Take You Away) by Paul van Dyk is in B♭ minor, or 3A on the Camelot wheel.
What BPM is I'm Comin' (To Take You Away)?
I'm Comin' (To Take You Away) runs at 132 BPM, a peak-time tempo track.
What mixes well with I'm Comin' (To Take You Away)?
From 3A it blends harmonically with 4A, 3B, 2A. Moving to 4A lifts the energy a step.
Is I'm Comin' (To Take You Away) good for peak time?
With energy 82 out of 100 at 132 BPM, it works best as a peak-time weapon.
Mixes harmonically
3A → 2A · 4A · 3BFrom 3A, 4A (F minor) lifts the energy a step; 3B (D♭ major) brightens to the relative major; 2A (E♭ minor) cools the energy down a step.
How to mix it
In 3A at 132 BPM: 4A (F minor) — move to 4A to push the floor harder; 3B (D♭ major) — switch to 3B for a mood change without losing the groove; 2A (E♭ minor) — drop to 2A 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 10A rather than 3A; below -5% it reads as 8A. With key lock on, it stays 3A across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 82/100).
Similar tempo
Within ±3 BPM of 132 — beatmatch without a big tempo pull.
More trance
![DNA Extractor [Mix Cut] - Markus Schulz Big Room Reconstruction by Markus Schulz cover art](https://i.scdn.co/image/ab67616d00001e02406413937357e55e7d007744){kind=small}
![DNA Extractor [Mix Cut] - Markus Schulz Big Room Reconstruction by Markus Schulz cover art](https://i.scdn.co/image/ab67616d00001e02e62d88105cf4cb3b183b4f90){kind=small}
More from Paul van Dyk
Full profile
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.
Every insight on this page, for your own library.
Vibes runs this same analysis on the music you own: keys, energy and vibe for every track, organized into sets you can actually play.