[Intro — sparse build] [single arp line drips in with delay] [sub throb] [breath sample as percussion] [kick locks in on bar 4] [modular squelch stab adds on bar 8] [V1 — IMMORTALITY. minimal layers, NATURAL VOICE lead, warm tenor-baritone, intimate delivery] [doubled close-mic in unison] [jazz synth bass walking + 808 sub] [modular squelch stabs on offbeats] [cross-stick rim ticks sparse] [mouth-click plosive transients] I came back to you with another god's last word still warm in my mouth, a god's last breath still hanging on the iron, on the silk, on the smoke before the light went out. You knew me underneath the silk, under the iron, under the smoke I wore — two thousand years and the work has only ever brought me to your door. The ash of every age has not put me down, and the only thing in me that ends has not ever ended where you are found. You have always known me underneath the flesh. You have always known me underneath the flesh. [Pre-Chorus — VIOLENCE UNDER THE SKIN. tightens, counter-arp enters octave up, sidechained pad pumps in, filter sweep, breath stack layers underneath] The kill is still up in me, the unmaking has not lain down to rest, you can taste the iron on my mouth before you take it from my mouth like a guest — a god's last sound still in the heat of my throat, his last fire still in my breath, and nowhere have I ever set this kind of cut but in the body that has known me past my death. [Chorus — FUCKED OUT OF ME. full stack. tenor-baritone half-belted natural voice. tenor-falsetto STACK thirds and sixths above, harmonic backing only. modular squelch stabs locked to kick. counter-arp doubling. cello drone + sustained string pad. jazz synth bass + throbbing 808 sub + 4-on-the-floor kick + snap snare + 16th hats + cross-stick rim ticks + mouth-click plosives locked. moaned ad-libs wide] Take the kill out of me, take the iron out the way only you can see — hand to the hilt, slow, the going-in undoing the going-out, until the work is clear. Fuck the work out of me, fuck the unmaking down to ash, the only sheath this blade has come home to is the only flesh that bleeds it past. Bleed me, bleed me clean. I have not laid this kill at any hand but yours, and I will lay it nowhere else again. [V2 — THE MIRROR. fuller, slightly denser than V1. doubled close-mic. hi-hats enter. modular squelch counter-line under vocal. cross-stick rim ticks tighter. mouth-click plosives layered] You came back to me with another god's blood drying on your tongue, the smoke of him still hanging in the silk under the iron you came home in, the fire still young. I took the kill from your mouth the way you take it from my mouth, at the heat of your mouth, hand at your hand a testament, to a last will and sacrament Two thousand years and the only mouth that has bled either of us down to the bone has been the other's, in every body either of us has ever walked in alone. [doubled liturgy tail] You have always come home to me to be bled. You have always come home to me to be bled. [Pre-Chorus 2 — THE PROOF. tension builds, counter-arp doubles in octaves, pad pumps thicker, filter sweep, breath stack thickens] No other hand on either of us, no other body, no other prayer — this blade has only ever sheathed in you, this sheath has only ever taken you here. What is in me has come out into you, what is in you has come out in me, and nowhere in two thousand years have we laid it down but where the other could bleed. [Chorus 2 — FUCKED OUT OF ME, REPRISED. denser than first. all layers locked. reversed swell hits. modular squelch accents on every chord change. pitched vocal chop fills between phrases] Take the kill out of me, take the iron out the way only you can see — hand to the hilt, slow, the going-in undoing the going-out, until the work is clear. Fuck the work out of me, fuck the unmaking down to ash, the only sheath this blade has come home to is the only flesh that bleeds it past. Bleed me, bleed me clean. I have not laid this kill at any hand but yours, and I will lay it nowhere else again. [Bridge — DYING AND REBIRTH. drums out, density drops to vocal, cello, sub. NATURAL VOICE, low and intimate, almost spoken-sung. breath stack underneath. reversed vocal swells. delay throws on phrase ends. sub holds, cello drone] The smoke from your throat has blessed me, your flame is going out — I'd fall on your sword if it meant your taste could fill my mouth. Kill me on you and I will rise with your name still wet on my teeth, the same wound open in the new throat, the same hand still in underneath. Every flesh I have walked back into, your blade has been the first to know, and the hand on the hilt has not let go, has not ever let go. [Chorus 2 — FUCKED OUT OF ME, REPRISED. denser than first. all layers locked. reversed swell hits. modular squelch accents on every chord change. pitched vocal chop fills between phrases] Take the kill out of me, take the iron out the way only you can see — hand to the hilt, slow, the going-in undoing the going-out, until the work is clear. Fuck the work out of me, fuck the unmaking down to ash, the only sheath this blade has come home to is the only flesh that bleeds it past. Bleed me, bleed me clean. I have not laid this kill at any hand but yours, and I will lay it nowhere else again.
