Noam Wallenberg breaks down a trick he used on Jennifer Hall's track SFA to make the peak of the chorus hit harder. He treats his mixes as constantly in motion, using small automated shifts so a song feels like it surges and pulls back on its own, even when nothing about the performance actually changed.
For a few chords in the chorus that felt flat, he ran the entire drum bus through a Soundtoys Devil-Loc Deluxe and crushed it with heavy compression. That mangled parallel signal gets blended in at a very low level, automated to switch on only for those specific chords.
The effect is a quick spike in density and aggression exactly when the chorus needs it, then it disappears. Because it's tucked in so quietly and only active for a moment, it reads as the band pushing harder rather than an obvious effect, which is the real goal behind this kind of automation.