Patrick Topping, Rebūke & 1111, People Dancing

There's a regular version and an extended one, and the extended is obviously the one. Three names are credited here, Patrick Topping, Rebūke and 1111, and who did what isn't mine to guess at.

The bassline was written for the key change in the back half, and that's the whole thing for me. It isn't a low end pushed loud under a chord that moved without it. It moves with the chord. You can hear it happen, the bass going where the harmony goes instead of sitting underneath and hoping nobody's listening that closely. That's the difference between a part that got composed and a part that got placed, and it can't be faked after the fact. Either it was written for that change or it wasn't. This one was.

The extended is percussion led and it's sparse, and the sparseness isn't laziness, it's room. There's space left under everything and the low end is what fills it, which is the only reason to leave space. It's bright, and I kept waiting for it to feel thin underneath and it never did. Whatever's in there has a job.