In the case of this track, though, its greatest asset is its bassline, a tirelessly bubbling arpeggio that does more to carry the track than any sample could. It just keeps tumbling upwards, bar after bar, rich and resonant and entirely analog, with a Goldilocks approach to filtering: not too much, not too little, but just right. The drum programming is impeccable, with carefully syncopated snares and rimshots pushing the rhythm relentlessly forward.
Ricardo Villalobos' mix sounds a lot like you might expect it to, at least given Villalobos' remix work of the past couple of years. He's faithful to the track's signature elements, retaining both the vocal and the chord stabs. In fact, he makes them the focus of the track: where Tobias. used them to dramatic effect, Villalobos turns the chords into cornerstones of the groove and lets the vocals anchor every four-bar phrase. Having erased the bassline entirely, the rest is all hiccup and squiggle and chirp, with filters wrapping around drum sounds like sticky tentacles.
Like all things Ricardo, it only opens up when it's heard loud on proper speakers, but it's worth the time when you do. It takes a while to realize how tricky the rhythm is: how the kicks, claps and hi-hats slip from their usual positions and spend 12 minutes cycling each other endlessly and warily, like stray cats, fighting over the downbeat. Given Freund's own tendency to switch up the pulse as he programs his 808 in real time, it's a fitting course to have taken, and a reminder that there's a method behind Villalobos' meandering.