The Last Night We Thought Was Real
30s preview
- Key
- 5A · C minor
- BPM
- 126
- Open Key
- 10m
- Energy
- 75/100
- Pop
- 3/100
- Length
- 7:25
- Released
- 2013
- Genre
- Progressive House
- Loudness
- -5.4 dB
- Dynamics
- 14.4 dB
- ISRC
- USQY51335424
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
At 126 BPM in C minor (5A), The Last Night We Thought Was Real is a club-tempo progressive house production. 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 2013 production that still circulates in sets. Less groove-driven than 90% of Tinlicker's catalogue.
- Low end:
- more treble-tilted than 86% of Tinlicker's catalogue
- Reach:
- more underground than 80% of Tinlicker's catalogue
- Energy:
- calmer than 79% of Tinlicker's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 31%
- Low
- 30-130 Hz
- 29%
- Low-mid
- 130-570 Hz
- 24%
- Upper-mid
- 570 Hz-2.5 kHz
- 15%
- High
- 2.5-11 kHz
FAQ
What key is The Last Night We Thought Was Real in?
The Last Night We Thought Was Real by Tinlicker is in C minor, or 5A on the Camelot wheel.
What BPM is The Last Night We Thought Was Real?
The Last Night We Thought Was Real runs at 126 BPM, a club-tempo track.
What mixes well with The Last Night We Thought Was Real?
From 5A it blends harmonically with 6A, 5B, 4A. Moving to 6A lifts the energy a step.
Is The Last Night We Thought Was Real good for peak time?
With energy 75 out of 100 at 126 BPM, it works best as a mid-set roller.
Mixes harmonically
5A → 4A · 6A · 5BFrom 5A, 6A (G minor) lifts the energy a step; 5B (E♭ major) brightens to the relative major; 4A (F minor) cools the energy down a step.
How to mix it
In 5A at 126 BPM: 6A (G minor) — move to 6A to push the floor harder; 5B (E♭ major) — switch to 5B for a mood change without losing the groove; 4A (F minor) — drop to 4A to bring the room down gently.
Pitch range at ±6%: 118-134 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 12A rather than 5A; below -5% it reads as 10A. With key lock on, it stays 5A across the whole range.
Programming: a mid-set roller.
Similar tempo
Within ±3 BPM of 126 — beatmatch without a big tempo pull.
More progressive house
More from Tinlicker
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 126 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
