Having thoroughly facepalmed myself by first mistakenly critiquing the Derek West & Midnight Beats track of the same name, I finally ended up at the right spot, and was immediately struck by the cool vocal texture right at the outset, with the lower vocal octave at the centre of the stereo image and the upper vocal octave doubletracks hard panned. Because the higher line is sung falsetto, which naturally has more emphasis on the frequency extremes, it exaggerates the sense of ‘in my ear’ intimacy already generated by the extreme panning – especially on headphones.

The bass sound is another highlight, on account of its lovely low ‘growl’ – never really seeming to trouble the midrange, yet translating very nicely to smaller playback systems. It’s one of those sounds that manages to feel super-bassy without having as much actual subbass as you might expect, and it’s also sensibly twinned with one of those efficient kick drum samples that combine a tightly-controlled burst of low end with judicious midrange ‘knock’. By making the bass depth to some extent an illusion, there’s masses of headroom left for the kick to sound punchy, and in this respect it’s worth comparing the outcome with Mimi Webb’s contrasting approach in 'Good Without'.