Nowhere To Go (feat. Brian Molko) - Chris Liebing Dub Version
30s preview
- BPM
- 142
- Half-time
- 71
- Open Key
- 4d
- Energy
- 76/100
- Pop
- 19/100
- Length
- 5:52
- Released
- 2024
- Album
- Cold Enough For Snow Remixed
- Genre
- House
- Label
- [PIAS] Électronique
- Loudness
- -8.1 dB
- Dynamics
- 8.8 dB
- ISRC
- GBENL2404194
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Nowhere To Go (feat. Brian Molko) - Single Versionoriginal3A · 124
- Nowhere to Gooriginal3A · 124
- Nowhere To Go (feat. Brian Molko) - Chris Liebing Remixremix8A · 140
Against the original (3A at 124 BPM), this version runs 18 BPM faster and moves the key from 3A to 11B.
At 142 BPM in A major (11B), Nowhere To Go (feat. Brian Molko) - Chris Liebing Dub Version is a driving up-tempo house production. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. More bass-heavy than 99% of Tinlicker's catalogue.
- Tempo:
- faster than 96% of Tinlicker's catalogue
- Groove:
- less groove-driven than 86% of Tinlicker's catalogue
- Energy:
- calmer than 76% of Tinlicker's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 46%
- Low
- 30-130 Hz
- 28%
- Low-mid
- 130-570 Hz
- 19%
- Upper-mid
- 570 Hz-2.5 kHz
- 7%
- High
- 2.5-11 kHz
FAQ
What key is Nowhere To Go (feat. Brian Molko) - Chris Liebing Dub Version in?
Nowhere To Go (feat. Brian Molko) - Chris Liebing Dub Version by Tinlicker is in A major, or 11B on the Camelot wheel.
What BPM is Nowhere To Go (feat. Brian Molko) - Chris Liebing Dub Version?
Nowhere To Go (feat. Brian Molko) - Chris Liebing Dub Version runs at 142 BPM, a driving up-tempo track.
What mixes well with Nowhere To Go (feat. Brian Molko) - Chris Liebing Dub Version?
From 11B it blends harmonically with 12B, 11A, 10B. Moving to 12B lifts the energy a step.
Is Nowhere To Go (feat. Brian Molko) - Chris Liebing Dub Version good for peak time?
With energy 76 out of 100 at 142 BPM, it works best as a high-intensity peak cut.
Mixes harmonically
11B → 10B · 12B · 11AFrom 11B, 12B (E major) lifts the energy a step; 11A (F♯ minor) settles into the relative minor; 10B (D major) cools the energy down a step.
How to mix it
In 11B at 142 BPM: 12B (E major) — move to 12B to push the floor harder; 11A (F♯ minor) — switch to 11A for a mood change without losing the groove; 10B (D major) — drop to 10B 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 6B rather than 11B; below -5% it reads as 4B. With key lock on, it stays 11B across the whole range.
Programming: a high-intensity peak cut.
Similar tempo
Within ±3 BPM of 142 — beatmatch without a big tempo pull.
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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.
