The tune's got enough style and space, it seems to come ready for the remix. A-Trak's take re-tools it for the club, boosting the disco flair by liberally adding a speedy finger-bass and slashing string swoop. I imagine it's hard to rein-in one's remix tendencies when the song's refrain is "right over the top…" Arpanet detours from the floor to re-imagine the tune as a drugged-out sleazecapade, slowing things to a crawl, leaving only orgasmic moans and dark, sensual synth pads. It's so well-tailored for a horny back-room romp, it's a bit of a stretch to imagine it working well outside that specific context.
Both these remixes are decent cuts, but when you're up against Aeroplane you're going to have to go harder than decent. The Belgian duo make the tune into the Italo monster it always wanted to be. Like fellow neo-discophiles Hercules & Love Affair, Aeroplane consistently turn in remixes that seem to sprout beautiful and full-formed as if from the head of Zeus. This is because they don't sound like remixes at all. Compare A-Trak's mix to Aeroplane's: in the former you'll here the vocal a bit awkwardly sped up, the extra instrumentation somewhat perfunctorily applied. In the latter, while it's abundantly clear that Aeroplane have gone to Daft Punk University and completed advanced degrees in wormy electro synths and quasi-Baroque riffage, their additions are neither heavy-handed nor forced.