Artist profile
Panix is a bass and club music producer working within contemporary electronic and dance frameworks. Their work emphasizes low-end design and dancefloor sensibility across various club-oriented formats.
Plan a set with Panix tracks scored against the rest of the catalog
Mixgraph for iOS — chemistry-scored DJ planning.
Panix is a restrained — mostly instrumental artist.
Unusually low energy for Bass / Club.
Across 8 analysed tracks, Panix averages 39% energy — gentler than 90% of individual Bass / Club tracks — and 57% groove, groovier than 69%.
Measured against 6,914 Bass / Club tracks on 11 August 2026.
Missing one of theirs?
We'll add it — the artist is already in the catalogue, so it lands fast
We scored every transition between Panix’s 8 analysed tracks and every track by 12,460 other artists. 6 catalogues clear the bar — a transition counts at 80 chemistry or above, the same number you’ll see on any track page. The 6 with the widest margin over chance are below.
Chance is measured, not assumed: 0.573% of transitions between two randomly drawn tracks by different artists in this catalogue reach 80. Listed alphabetically — the set is reproducible, the order inside it is not.
11 of the 320 transitions between these catalogues reach 80 chemistry. Chance would give 1.8. They come from 3 different Panix tracks.
12 of the 104 transitions between these catalogues reach 80 chemistry. Chance would give 0.6. They come from 5 different Panix tracks.
Birdman Style → Thats That · 10B → 12B · same BPM · 85 chemistry
10 of the 144 transitions between these catalogues reach 80 chemistry. Chance would give 0.8. They come from 4 different Panix tracks.
Medicine → Shapeshifter · 11B → 11B · same BPM · 90 chemistry
12 of the 312 transitions between these catalogues reach 80 chemistry. Chance would give 1.8. They come from 4 different Panix tracks.
14 of the 320 transitions between these catalogues reach 80 chemistry. Chance would give 1.8. They come from 7 different Panix tracks.
Black Magic → Clock Riddim · 6B → 7B · same BPM · 90 chemistry
10 of the 184 transitions between these catalogues reach 80 chemistry. Chance would give 1.1. They come from 5 different Panix tracks.
Mobbed → Hermetica (feat. Sinerise) · 6A → 5A · same BPM · 84 chemistry
Chemistry weighs harmonic, rhythmic, energy, groove, mood and vocal compatibility. Tempos are as analysed from the recording — where a genre is habitually detected an octave down, this is how we handle it. Different measurement from the audience-overlap list further down the page.
DJs and producers closest to Panix by audience overlap — the artists their listeners also play. It’s a taste signal, not a measured key-and-tempo match: good for shortlisting crates when you’re prepping a set around Panix, then check the chemistry on the pair you actually mix. Eligible names link to their own page.
Similarity data from Last.fm. BPM, key and energy on this page are measured from the recordings in our catalog.
Panix's tracks in our catalog range from 65 to 140 BPM, with a median of 140 BPM. Across 8 tracks, the most common range falls in the 140–145 BPM bucket.
Panix's tracks are mostly in minor keys (50% minor across 8 tracks). The most common single key is 8A (A Minor) with 1 track.
We scored every transition between Panix's 8 analysed tracks and every track by 12,460 other artists. 6 catalogues clear the bar by more than chance would give, and DJ Q, elBarto, Introspekt are three of them — listed alphabetically, because the set is reproducible and the order inside it is not. A transition counts at 80 chemistry or above, the same number shown on a track page. One measured example: Long Time into Truly One, 4B to 5A, 81 chemistry.
Panix sits closest to Peaky Beats, Bluetoof, Dual Monitor in our catalog. That ranking is audience overlap — the artists their listeners also play — rather than a measured key-and-tempo match, so treat it as a shortlist worth digging through, not a promise that any two tracks will beatmatch. The full list, with track counts, is in the Related artists section above.
