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sounds good dave, only thing I might suggest is the little four-note trill that first appears two seconds in - once you start cranking the delay return up a bit (prob at :26 is where it becomes noticeable, and moreso on the subsequent ones) you can hear that the delay time is slightly off. assuming the delay times are set in milliseconds, just divide 60,000 by the bpm and that's the length of your quarter note in ms (sounds like a straight quarter note delay to me), so at your 133bpm that would make a quarter note 451.1ms. Doing this should also let you do some fun feedback loop stuff perfectly in sync, either off the tail end of the trill during the beginning as you come into the break, or even reversed and put in as a build up out of the breakdown (very Andy Moor).
If the delay time is supposed to be auto-calculated from the BPM, it doesn't appear to be reading the bpm properly, so chuck it into manual mode (if your delay supports delay time being input in ms - if not try to use one that does) and plug in 451.1ms and see how much fun the feedback becomes - even better if you can insert an eq or highpass filter into the delay's feedback loop as then you can re-emphasise a particular frequency band with each delay, like a tuned tape delay. Or, cut instead of boost the eq in the delay's feedback loop, so that subsequent echoes fade away by losing more and more off the bottom end (or maybe roll a bit off the top, too, so it appears to get more distant), instead of just fading away in amplitude. If you're after that kind of effect of course - might be a bit dubby.
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