The beat the song is built on is one bar, played through bars 18-24, 26-32 and 69-75, and 8 more places -- 17.6% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
It is played on crash, snare and kick, counted in thirty-second notes. On its own it scores 18 out of 100 -- straightforward -- and the thing that decides that is how fine the subdivision is.
The whole song is 90 out of 100, so the beat is not the hard part: what costs you is everything around it, the joins and the fills.
A part this hard is not learned by playing it slowly and hoping. The room opens it on its simplest reduction -- the timekeeper alone, at 83 BPM -- and adds the notes back over 3 rungs, each with a tempo to reach and a gate to pass before the next.
Tempo goes 83, 96 and 110 BPM, and the gate at each one is 8 loops in a row with no wrong note and no wobble in the time.
PRACTISE THIS BEAT →A one-bar groove on crash, snare and kick, in 4/4 at 110 BPM, counted in thirty-second notes. It is written out above, and it covers 17.6% of the bars the kit plays.
Bars 18-24, 26-32, 69-75 and 160, and 7 more places. The time is kept on the silence to start with, and it changes 14 times over the song.
18 out of 100 on its own -- straightforward. The song as a whole is 90 out of 100. Hard, and what makes it hard is the independence between the hands and the feet.