At 128 the kick is the whole architecture: four-to-the-floor, trimmed close, with a bassline that walks rather than shoves. The B major tuning gives the melodic fragments a clean, almost glassy edge — small motifs that repeat just long enough to lodge, then step aside. The energy reading says 10; what I hear is control, a record holding its own tension instead of spending it all at once.
It sits best in the middle stretch of a set, once the room has settled and before anything needs to lift — the sort of thing that tightens a floor without announcing itself. Percussion stays dry and near; the space between hits does as much work as the hits. Tasteful rather than striking, and on Stil Vor Talent that is roughly the point.