The beat the song is built on is one bar, played through bars 111-113, 115-117 and 119-120, and 18 more places -- 23.9% 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, hi-hat, snare and kick, counted in thirty-second notes. On its own it scores 48 out of 100 -- a step up -- and the thing that decides that is how fine the subdivision is.
The whole song is 83 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 124 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 124, 144 and 165 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, hi-hat, snare and kick, in 4/4 at 165 BPM, counted in thirty-second notes. It is written out above, and it covers 23.9% of the bars the kit plays.
Bars 111-113, 115-117, 119-120 and 123-124, and 17 more places. The time is kept on the silence to start with, and it changes 20 times over the song.
48 out of 100 on its own -- a step up. The song as a whole is 83 out of 100. Hard, and what makes it hard is the independence between the hands and the feet.