Bonanza
- BPM
- 142
- Half-time
- 71
- Open Key
- 4m
- Energy
- 59/100
- Pop
- 0/100
- Length
- 4:15
- Released
- 2020
- Genre
- Dubstep
- Loudness
- -9.2 dB
- ISRC
- GBJX32011009
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Bonanza: driving up-tempo dubstep, F♯ minor (11A), 142 BPM. The groove is strong and floor-ready. The mix is almost entirely instrumental. More underground than 99% of Skream's catalogue.
- Tempo:
- faster than 84% of Skream's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
FAQ
What key is Bonanza in?
Bonanza by Skream is in F♯ minor, or 11A on the Camelot wheel.
What BPM is Bonanza?
Bonanza runs at 142 BPM, a driving up-tempo track.
What mixes well with Bonanza?
From 11A it blends harmonically with 12A, 11B, 10A. Moving to 12A lifts the energy a step.
Is Bonanza good for peak time?
With energy 59 out of 100 at 142 BPM, it works best as a high-intensity peak cut.
Mixes harmonically
11A → 10A · 12A · 11BFrom 11A, 12A (D♭ minor) lifts the energy a step; 11B (A major) brightens to the relative major; 10A (B minor) cools the energy down a step.
How to mix it
In 11A at 142 BPM: 12A (D♭ minor) — move to 12A to push the floor harder; 11B (A major) — switch to 11B for a mood change without losing the groove; 10A (B minor) — drop to 10A to bring the room down gently.
Pitch range at ±6%: 133-151 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 6A rather than 11A; below -5% it reads as 4A. With key lock on, it stays 11A across the whole range.
Programming: a high-intensity peak cut.
Similar tempo
Within ±3 BPM of 142 — beatmatch without a big tempo pull.
More dubstep
More from Skream
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 142 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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