[Intro — very quiet acoustic hurdy-gurdy alone; low wheel-bowed drone and a slow mournful Slavic folk-inspired melody, audible mechanical texture; no drums or vocals] [Balalaika Entrance — sparse delicate plucked notes answer the hurdy-gurdy; the instruments gradually weave together, low bass enters without a drum impact] [Verse 1 — low smoky female rhythmic recitative, quick precise articulation but restrained intensity; bass and sparse balalaika underneath, muted guitars and dry drums gradually join] Saen sa kelthir, mael sa naal, kald vor sa graal. Skauren sa vaelun, mor sa thae a hál. Threnna thren, oskara mevrin, no drethara vel. Khaeravael sa orrun — vaelruna kelrun, no skeld. En ren kaervitha draevith sa naal, sa nátt. En ul no ossara vael — no hrím, no kald! [Transition — final line rises into a deep female growl; hurdy-gurdy climbs while balalaika tremolo accelerates, full-band chorus entrance] [Chorus — powerful husky female clean singing; broad plaintive Slavic melody over heavy syncopated guitars, harsh female responses] Vor sa naal — no ossara vael! Draevanna, drae, sa morvitha hál! Vor sa naal — kaeritha vae! Aevruna, vaern — saelruna nae! [Transition — drums and guitars abruptly stop; last vocal vowel remains as a short grainy echo, then disappears] [Bridge — intimate smoky female clean voice; short melodic phrases, acoustic balalaika alone, spacious pauses] Vael sa vel. Drae sa naal. Shaelira saen. Naevara ná. [Transition — one dry balalaika chord is chopped into a tightening digital pulse; distorted bass enters, then a violent snare-and-guitar hit] [Verse 2 — aggressive double-time female recitative; coarse chest rasp, dense clipped consonants, deep growled accents over crushing half-time drums] Krenn sa graal, dhaesh sa kaal, hraev sa orrun. Veyr ren veyritha aeshara sa skeld, sa velthun. No vrek dhaerun a kaerunna, no þeskara vaern. Em ul khaervanna sael, em ul maeritha kaen. Vrek khaem, oskara þesk, orritha kald hál! Em ul draevira vor, em ul kaeritha vaal! [Transition — last word collapses into a descending pitch bend; one beat of total silence] [Dubstep Breakdown — one short eight-bar section; distorted formant bass and jagged guitar stabs trade phrases over massive half-time drums; chopped balalaika attacks and granular hurdy-gurdy fragments, metallic impacts, no new lyrics] [Transition — electronic bass cuts out; one exposed hurdy-gurdy phrase is answered by a dry balalaika run] [Solo — instrumental dialogue between amplified hurdy-gurdy and balalaika; gritty sustained modal phrases answered by bright rapid plucks and tremolo; bass and toms build underneath, heavy guitars return; both folk instruments unite in an ornamented version of the chorus melody, no lead guitar solo] [Transition — balalaika stops on a sharp chord while hurdy-gurdy holds one tense note; brief drum fill, explosive full-band return] [Final Chorus — powerful smoky female clean lead layered with deep growls and cutting screams; massive guitars, hurdy-gurdy countermelody and percussive balalaika] Vor sa naal — no ossara vael! Draevanna, drae, sa morvitha hál! Vor sa naal — kaeritha vae! Aevruna, vaern — saelruna nae! [Outro — heavy instruments stop together; acoustic hurdy-gurdy returns to the quiet opening drone while balalaika plays three widely spaced descending notes; both stop abruptly after the final note, no fade]
