Kiss

At 125 the pulse is unhurried, yet the energy reads a nine — and you feel that in the top end rather than the kick: hats, shakers, and a vocal pushed forward, clipped and doubled, carrying the hook like it's already familiar. B♭ minor does the quiet work underneath. The melody is bright on the surface, but the chord beneath keeps pulling it flat and wistful.

This is a record for the seam between rooms — after the pop set, before the proper build — where a voice can hold a floor that isn't fully committed yet. There isn't much low-end weight to lean on; the arrangement trusts the hook to do the lifting, and mostly it does. I'd play it early and let the melancholy finish the job.