There are a number of nice little production moves that are worth spotting in this recent EDM hit. The verse-section’s 3/16 lead-vocal delay spins (eg. on the first “sun” at 0:02) are very much stock in trade for this genre, but what I like about them here is the way they’re contrasted against the retriggered quarter-note vocal sample fragments (eg. at 0:10-0:12). Then there’s the canny high-pass filter automation leading into the main chorus/hook entry at 0:32, where the low end of the synths begins progressively falling away from about 0:29, providing a greater contrast (and therefore greater impact) when the chorus’s powerful kick+bass combo finally arrives – something you can see very clearly if you look at a spectrum analyser. Here are a few screenshots of the sub-1kHz spectrum, for instance, showing the upwards progression of the high-pass filtering 0:29-0:31, and then the subsequent return of the full low-end extension at 0:32:

Also noteworthy is that the synths in the second prechorus retain a flavour of chorus section’s characteristic gain-pumping, whereas this is absent from the first prechorus, which is a cool way to add a subtle long-term dynamics ’lift’ for the second half of the song. Like the high-pass filter automation, it’s nothing complicated – but that doesn’t mean it’s not smart!