The beat the song is built on is one bar, played through bars 125-126, 128 and 130-131, and 22 more places -- 20.5% 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 67 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 80 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 80, 93 and 106 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 106 BPM, counted in thirty-second notes. It is written out above, and it covers 20.5% of the bars the kit plays.
Bars 125-126, 128, 130-131 and 133, and 21 more places. The time is kept on the silence to start with, and it changes 19 times over the song.
18 out of 100 on its own -- straightforward. The song as a whole is 67 out of 100: demanding, mostly on the independence between the hands and the feet.