Artist profile
Aitch
Aitch is a trap and future bass producer working across electronic and hip-hop-adjacent soundscapes. His work blends atmospheric production with rhythmic intensity, drawing from contemporary trap aesthetics and experimental bass design.
Sound profile
Aitch is a moderate-energy and a bright production — mostly instrumental artist.
Tracks in catalog
7 total · sortable
Track | BPM · Key | Actions |
|---|---|---|
 Raving In The Studio Aitch, Bou | 882AE♭ Minor | |
 Keisha & Becky - Remix Aitch, Tion Wayne, Swarmz, JAY1, Sav'o, Russ Millions | 705BE♭ Major | |
 Taste (Make It Shake) Aitch | 988AA Minor | |
 Strike a Pose Aitch, Young T & Bugsey | 1052AE♭ Minor | |
 French Kisses Aitch, ZieZie | 10710AB Minor | |
 Wait Aitch | 1507AD Minor | |
 Buss Down - Joel Corry Dub Aitch, ZieZie | 12410AB Minor |
Release volume by decade
Related artists
Top 15 by similarityDJs and producers whose tracks blend naturally with Aitch’s — similar scenes, adjacent production styles, overlapping audiences. Useful when you’re prepping a set around Aitch and need adjacent tracks that won’t feel out of place. Eligible names link to their own page.
FAQ
What BPM does Aitch play at?
Aitch's tracks in our catalog range from 70 to 150 BPM, with a median of 105 BPM. Across 7 tracks, the most common range falls in the 105–110 BPM bucket.
What key are Aitch's tracks in?
Aitch's tracks are mostly in minor keys (86% minor across 7 tracks). The most common single key is 2A (E♭ Minor) with 2 tracks.
What artists mix well with Aitch?
Based on harmonic compatibility, tempo proximity and artist-cohort context, Aitch pairs well with AJ Tracey, Arrdee, Stormzy. The full list — with track counts in our catalog and similarity scores — is in the Related Artists section above.
When was Aitch most active?
Our catalog has Aitch releases spanning 2019 to 2025, with the most tracks from the 2010s.
Keep exploring
Plan a set with Aitch tracks scored against the rest of the catalog
Aitch on Mixgraph
Mixgraph for iOS — chemistry-scored DJ planning.
