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At 122 the kick doesn't sprint, it strides, and yet the energy reads as a nine — nearly all of it coming from the top: tight hats, a clipped vocal flick, small percussive details that keep shifting underfoot. In F# minor the melodic parts stay cool and slightly withheld, never resolving into anything obvious.

That restraint is the point. It builds a room rather than fills one, and it works best as a hinge — dropped after something softer, before the set turns properly dark, letting the low-end do the persuading while the melody circles overhead. Not immediate; better for it.