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10 songs that feel like Come Out

Matched to Come Out by Steve Reich on how the music actually moves — intensity, dynamic swing, texture, tempo — not by genre tag. Here's what makes each one a match.

Come Out
The song you love
Come Out
Steve Reich
intense 60/100 intensity 60 BPM
Trans-Europe Express — Kraftwerk moderate 105 BPM

A 79% feel-match — carries the same hypnotic pull and sits a little calmer at 39/100.

Into the Twilight — Jack White moderate 95 BPM

68% match across our 8 measured dimensions; it sits a little calmer at 51/100. Same layered texture.

Voices Inside My Head — The Police moderate 120 BPM

Keeps the same hypnotic pull — sits a little calmer at 50/100. Measured 73% alike.

Machine Gun — Slowdive intense 85 BPM

Measures 83% the same. It lands at almost exactly the same energy (60/100). Same layered texture.

Autobahn — Kraftwerk moderate 85 BPM

A 76% feel-match — carries the same hypnotic pull and sits a little calmer at 24/100.

Little Johnny Jewel — Television moderate 95 BPM

70% match across our 8 measured dimensions; it sits a little calmer at 51/100. Same layered texture.

Sour Times — Portishead moderate 85 BPM

Keeps the same contemplative pull — sits a little calmer at 27/100. Measured 83% alike.

Innocent When You Dream — Tom Waits moderate 72 BPM

Measures 82% the same. It sits a little calmer at 28/100. Same layered texture.

Chameleon — Herbie Hancock moderate 108 BPM

A 71% feel-match — carries the same hypnotic pull and sits a little calmer at 39/100.

Spitzenqualität — NEU! moderate 138 BPM

72% match across our 8 measured dimensions; it sits a little calmer at 38/100. Same layered texture.

…and if you want it calmer

Same feeling, measured gentler — for when Come Out is more than you want right now.

Violin Phase by Steve Reich
Violin Phase — Steve Reich safe 144 BPM

Keeps the same feel of the original, but it stays in our safe band start to finish. Intensity 28/100, down from 60.

Into the Twilight by Jack White
Into the Twilight — Jack White moderate 95 BPM

It measures markedly calmer overall, so it lands at 51/100 — the pull without the edge.

The Asphalt World by Suede
The Asphalt World — Suede moderate 85 BPM

If it's the same feel you're after, this delivers it while it eases off just enough to take the edge off. Reads 65/100.

My Cosmos Is Mine by Depeche Mode
My Cosmos Is Mine — Depeche Mode moderate 90 BPM

Holds the same feel while it eases off just enough to take the edge off. 67/100, versus the original's 60.

Music for 18 Musicians — Steve Reich moderate 72 BPM

Keeps the same feel of the original, but it measures markedly calmer overall. Intensity 34/100, down from 60.

Gymnopédie No. 1 — Erik Satie safe 60 BPM

It stays in our safe band start to finish, so it lands at 5/100 — the pull without the edge. Nearly the same tempo, too.

Englabornin — Johann Johannsson safe 60 BPM

If it's the same feel you're after, this delivers it while it stays in our safe band start to finish. Reads 28/100. Nearly the same tempo, too.

Opus — Ryuichi Sakamoto safe 60 BPM

Holds the same feel while it stays in our safe band start to finish. 34/100, versus the original's 60. Nearly the same tempo, too.

Frequently asked

What songs sound like “Come Out” by Steve Reich?

The closest feel-matches we measure are “Trans-Europe Express” by Kraftwerk, “Into the Twilight” by Jack White, “Voices Inside My Head” by The Police — the top match scores 79% alike. Matching is by how the songs actually move (intensity, dynamic range, texture, tempo, predictability, vocal force), not by genre tag or popularity.

What songs are like “Come Out” but calmer?

“Violin Phase” by Steve Reich, “Into the Twilight” by Jack White, “The Asphalt World” by Suede keep a similar feel while measuring gentler — lower dynamic swing, fewer sudden shifts, or a calmer overall level.

How intense is “Come Out”?

It measures 60/100 on our intensity scale, computed from a dynamic range of 3/10, layered texture, no sudden shifts, and spoken word. Tempo is 60 BPM.

How do you decide which songs are similar?

Every song in our catalog is measured on 8 dimensions — intensity, dynamic range, tempo, sudden changes, texture, predictability, vocal force and fine sound detail. Similarity is the distance between two songs across those measurements, so matches cross genres and eras. Shared mood tags break ties.

By the numbers: how this song compares

Computed from this song’s place among the 19,209 songs we’ve measured.

Where it sits in 19,000 songs

On our 19k-song scale this lands in the middle band — more energetic than 77% of songs, calmer than the other 23%. Its intensity reading of 60/100 comes from a dynamic range of 3/10, layered texture, no sudden shifts, and spoken word. Relatively few songs occupy this exact corner of the spectrum.

What makes it unusual

What stands out most about this song is an unusually steady, even volume: more extreme on that axis than 100% of everything we've measured. At the far opposite end of the library sit the songs built on full chaos — sudden changes, huge quiet-to-loud swings, and relentless energy — the kind of track this one is the counterpoint to.

Feels almost identical to

Closest matches by feel across all 19,209 measured songs — not by genre or artist, by how they actually move.

Dial the feeling up or down

Same feeling, calmer: Sour Times — Portishead

What it’s good for

Sleep5/10
Focus7/10
Workout4/10
Dinner6/10
Party / hype4/10

Scored from this song’s tempo, intensity, dynamics and texture — not crowd votes.

1966 in context

The 166 songs we’ve measured from 1966 average a dynamic range of 6.4/10. At 3/10, this track is gentler and steadier than its year.

Mixes smoothly with

Within a few BPM and close in feel — they flow without a jarring transition.

The fingerprint

Intensity60
Dynamics22
Tempo11
Surprise0
Density33
Predictability0
Vocal force40
Trigger load63

The 8-dimension measurement behind every rating on this page.

Want the single closest match, with every dimension compared?

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