By rights, I shouldn't like this song: it only presents 2 different musical ideas over almost 5 minutes of music, and everything about the track is *simple* -- the words, the melody line, and hell, even the artist's sledgehammer-subtle reference of a name.
...and yet.
Its instrumentation is a fantastic balance of clean, plucked synth lines and angular, rolling bass (has anyone described a bass as angular? Can I do that? I basically mean loosely 8-bit/synthpop informed), with a crunchy guitar jangle as an aural lifeline to the organic. Even as a two-chord song, it somehow doesn't grow tiresome. Most successfully, it inverts the "happy song, sad lyrics" trope by pairing music full of yearning with words of blissed-out, celestial contentment.
Hell, I can even forgive that fact that this John Kunkel dude probably *practiced* sounding like Ian Curtis. It's almost entirely borrowed; it's almost entirely all in its right place.