Her

I keep coming back to how Kaspar treats the 122 BPM grid as a runway, not a racetrack. In 7A, the harmonic tension feels contained but heavy, with melodic fragments circling above a locked kick that keeps the energy pinned at ten. It moves like a slow tightening of gears—each cycle adding pressure without forcing the tempo to sprint.

I would drop this where the room is already warm but not yet breathless: the bridging space between warm-up and peak. The D-minor colouring keeps the mood serious, and its high energy reading means it needs a careful mix out; follow it with something faster and the floor might strain, but let it run its course and it carves out its own insistent, narrow corridor.