At 125 the kick isn't in a hurry; it's the sub and the clipped hats doing the persuading. Everything sits in F minor, so the melodic parts share a room rather than compete — a held pad, a short arpeggio that arrives and leaves before you tire of it. The energy reading sits at the top of the scale, but it plays as tension held rather than released: the filter stays half-closed, the reverb tail stretches a little longer than you expect.
This is a record for the third hour, when the floor is settled and you can afford to be patient. It builds its atmosphere by subtraction rather than by a drop, thinning the percussion until the bass has room to breathe, then easing it back. It won't announce itself; it quietly takes over the space between tracks and holds it.