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Really love what you've done with this one. I've had a listen to the intro and I think yours elevates the material. Of course, I'm pretty biased, because I'm pretty bored by a slick but ever-so-common guitar sound that track is based around, but regardless yours is a very tight, very interesting take on the original. Everything a remix should be.

Now, in my time-stamped feedback I largely ended up focused on small compositional variations you might consider making, mostly in regards to dynamic variation. With the feedback, I try to keep it pretty stream of conscious while I still have fresh ears to offer. After all, the more you work on something the more familiar it becomes and the more you can lose sight of how a listener will hear the material for the first time. Hopefully you find some value in that for some of these!

Anyway, to address the eq concern - I think it largely sounds finished and there's nothing you have to change. I did hear a bit of the weirdness you were talking about, and I think what it was was hype in the 1.8k-3.2k range or so. Interestingly, this is a pretty nasally area, and I wonder if that's more than a coincidence with your nasally blockage (hope that's all better, by the way). So I tried chopping some of that out (around 3dB or so) along with an overly aggressive harmonic in the bass and liked the direction that took it more or less. I also noticed the whole thing is rather quiet, around -13dB or -12dB RMS. This is a personal and somewhat even arbitrary choice, of course, but I thought the track sat in a lot more appropriate place closer to -6dB RMS. I didn't limit much to get there, but to my ears when I A/B'd them while compensating for volume changes, the -6dB seemed to win out. Here are those changes to eq and limiting if you want to listen (though of course, the implementation is fairly crude as you might expect)

This is the eq curve I used. As you can see, I was pretty generous but the freq's I took away don't really suffer from the loss of volume, a sure-fire sign they were probably too loud.  

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I was using this track to reference:
It's a bit different in terms of content, but I think your track might have some room for improvement in the direction of that balance, especially the fuller bass. That would change the vibe of the track, but it's something you might consider!


00:00 - This isn’t my favorite intro of yours. It really just drops you in, which is almost certainly by design, but in my opinion that should be left for the DJ to do if it fits the set. This track is really smooth - super smooth, even, at times - and the bombastic and sudden intro doesn’t set me up for that. Maybe that’s the juxtaposition you want, but I want to point it out nonetheless. 


00:05 - Honestly just removing the hats in the beginning might open it up and give yourself some compositional “headroom” to make more of an impact when the vox drop in a few seconds. 


00:07 - It’s not my favorite snare sound, and that may come down to the processing. It sounds over-processed. It’s very compressed, giving it that Prince vibe, and feels like it has weird notches cut out of the frequency spectrum, almost like it’s a tad bit hollow. I would personally spend some time subbing out the sample a few times just to see if something catches your ear with a different envelope/eq. My guess is that snare was added pretty early in the process and there’s a huge advantage to picking sounds at this later stage when you have the full musical context they’re placed in. Something closer to the original song might work very well. Just a thought!


00:11 - Love the vocals/melody/flavor here. I think it could have a lot more impact if the warmth filled in as well. Right now, the low end kind of stays consistent between intro and start and there’s no real dynamic shift. If you just give a small high pass or ease a low shelf down for the intro, all that warmth would feel so nice. The problem you’d have to contend with is how that may affect the rolling kick drum in the beginning. But, the loop motif you put into this is very very strong.


00:18 - I can’t get enough of how that vocal sounds. I’d love to hear how you processed it!


00:27 - One thing about your drums is they’re so loud they feel separated from the track in some degree. It’s a style that seems to work for you, but I wonder what you’d think if those all gel’d a little more.


00:37 - I love the way the structure has built to this verse. It’s a very satisfying performance and the groove supports it perfectly. Would be extremely challenging to not bob your head to this.


01:20 - Feels like this could break down even more, you don’t really take out much. For a second I get a glimmer of a barer section that focuses on the vox more but then “oh he’s kept the bass” “oh he’s kept the kick” “oh he’s kept the snare” and pretty soon it’s all still in. This is a really easy moment to add some dynamic variation - and it only need be a moment to do a lot of good and keep things fresh.


01:48 - Part of me wants to hear that playful vocal melody doubled on some other synth. Lightly or fluxuating or maybe not at all? Just something that might be worth trying.


01:52 - All the descending bass stuff in this section is really slick, awesome work.


02:14 - Think this might be another instance where the hats could take a break. Maybe even through the main drums returning and then their return (the hats) can add to the impact for the return at 02:35.


02:45 - The structure of the song is really masterful. By the end of about 2 minutes everything is already really familiar to even a brand new listener and that’s definitely what you want to see.