[Intro — 8 bars. jazz synth bass walks alone bars 1–2. breath stack and cello drone enter bar 3. glassy plucked arp bar 5. gated snare and 808 sub lock bar 7. mouth-click plosive transient and vocal breath chop on downbeat bar 8] [Verse 1 — baritone natural voice, doubled close-mic, sub pulse, jazz bass walking, glassy arp, cello drone underneath] I came back with another god's blood drying on my mouth, the blade still wet from the rite of the going-in, and I laid the kill at your feet still hot, the body still wearing what I had taken, the way I have always laid the kill at your hand again. You took the blood off my mouth before you took my mouth, took the body I had brought you the way the body takes the host to the bone — two thousand years and every body this hand has worn has only ever opened the wound in you, has only ever called you its own. [doubled liturgy tail — pitched vocal chop melodic line enters underneath, processed pant chops thicken] Every kill in my hand has been yours, has been yours. Every kill in my hand has been yours, has been yours. [Pre-Chorus — counter-arp enters octave up with delay, sidechained pad pumps in, filter sweep tension, breath stack thickens, modular squelch stab on the turn] The blade is the love. The kiss is the kill. The kill is the only word my mouth has been making for you — and the blade has been writing your name in the wound of every god whose name I have ever undone too. And the blade goes home in you the slow holy way it goes home in the throat of what I take down for you. [Chorus — full stack. baritone half-belted natural voice, easy and unforced. tenor-falsetto STACK thirds and sixths above, harmonic backing only. dry close-interval stacked vocal harmony as frozen pad layer. pizzicato stabs locked to kick. counter-arp doubling. cello drone. jazz bass + 808 sub + saturated parallel sub layer + gated snare locked. moaned ad-libs wide. growled ad-libs panned underneath. mouth-click plosive percussion] The blade is for you. The blade is in you. The kiss is the kill, the kill is the host, the bed is the altar, same blood. You take the blade from my hand the way I take the going-in — slow, holy, the work still hot in the wound it made good. The word ends before you do. The world has ended a thousand times under my hand to keep you in mine — and the only law I have ever obeyed is you. The only blade I have ever loved is the one drawn down your line. [Verse 2 — fuller. hi-hat 16ths enter. third melodic synth pluck panned wide enters. glassy counter-line continues. pizzicato pluck under vocal. processed pant chops layer in. pitched vocal chop melody continues] You came back to me wearing the dust of what had thought it could touch me, a god you had taken down to less than dust, the body still warm where you had laid the going-in, and you laid him at my hand without a word — I took the kill from your mouth the way the body takes the host, took your hand, took the body you had laid down for me as the only one I have ever taken in. I took the blood off your hand before I took your hand. I took the body you had brought me down to the bone, the only body this mouth has ever known — two thousand years and every body your hand has worn has only ever opened the wound in me, has only ever called me its own. [doubled liturgy tail — stacked vocal harmony thickens, plosive transients on every phrase end] Every kill in your hand has been mine, has been mine. Every kill in your hand has been mine, has been mine. [Pre-Chorus 2 — counter-arp doubles in octaves, pad thicker, filter sweep harder, modular squelch stabs tighter, growled ad-libs enter underneath] Your blade has been writing my name in the throat of every god you have ever laid down at my feet — and what is in your hand now is in your hand because what came near me came through you first into defeat. And what is in me now is in me because you laid me down the way you laid them down: hand to the hilt, slow, holy, complete. [Chorus 2 — max density. all layers locked. reversed swell hits between phrases. glitch vocal chop fills. dry stacked vocal harmony layered thicker. modular squelch accents on every chord change. saturated parallel sub doubles. moaned ad-libs wide. growled ad-libs panned underneath] The blade is for you. The blade is in you. The kiss is the kill, the kill is the host, the bed is the altar, same blood. You take the blade from my hand the way I take the going-in — slow, holy, the work still hot in the wound it made good. The word ends before you do. The world has ended a thousand times under my hand to keep you in mine — and the only law I have ever obeyed is you. The only blade I have ever loved is the one drawn down your line.
