Taking from the counterpoint relationships (between voices) as evident in classical and baroque music, the parts for the main melody and bassline have been composed using the strict rules that adheres to creating these structures of melodic interaction.
Theoretically, these rules should impose a higher restriction on freedom of note choice, and define a more finite set of "possible compositions" than regular, modern composition methods. Therefore it is an interesting method when attempting to create something that doesn't remind you of something else or sounds like a caricature!
In overcoming the "baroque sound", the song has been composed as a bossa nova. Jazzy brushes provide a constant, driving rhythmic backdrop to the blatantly early 1990s synthesizer squelches (as loved by the acid scene of the era). A deep, buzzing saw bass adds a dub feel which should do Jah Wobble proud.
To sidestep the bossa nova feel, polyrhthmic patterns occur at the end, allowing a freeform floating effect over the constant 4/4 propulsion of the ride cymbals.