[Intro — unaccompanied acoustic plucked lyre; a plaintive Slavic folk-inspired minor melody, ringing open fifths and a repeating fingerpicked pattern; no vocals, percussion or electronics] [Transition — final lyre note rings into a sudden full-band entrance] [Chorus — powerful husky female clean singing; long plaintive melodic phrases, heavy syncopated guitars, plucked lyre answers] Sael a vaern — saelruna, saelruna! Keldri vaeshun — morvanna, morvanna! Sael a vaern — naevara ná! Kaeritha vaelun, kaeritha þrá! [Transition — the last vowel stretches into a grainy echo; guitars choke off, dry bass and drums establish a straight 4/4 groove] [Verse 1 — rapid female rhythmic recitative; low smoky chest rasp, densely packed short phrases and crisp consonants] Kveld sa veld, saen sa keld, raevun sa kraen. En sa vaelun við vaern, en maeritha kaen. Shaurn sa naal, thren sa skeld, skar sa vel. No khaem sa thaen — en no moritha sál. Thu ren kelruna sael, en ren kaelvanna thu. En ul kaeritha vaelun da nareth a thu. [Transition — guitar riff repeats once as a bitcrushed loop; live drums switch to a crushing half-time groove while the vocal maintains double-time speed] [Verse 2 — sharper aggressive female recitative; coarse rasp, percussive delivery, growled accents at line endings] Nátt sa veld, veyr sa þoll, mor sa kraen a kaal. En ren shaelira hraev sa fjarn, sa morvitha hál. Thu ren osvitha skeld, en ren kaervitha thren. Ke thu naevara ná, ke thu maeritha en? Vrek torven, no vrek vaern, no drethara sael! Em ul no ossara vae, em ul vaelthira vael! [Transition — final word cuts off with the guitars; one acoustic lyre phrase remains, dry and close] [Bridge — short melodic lines, exposed smoky female clean voice; sparse plucked lyre, spacious pauses] Vael sa naal. Sael sa hál. Naevara ná. En við thu. [Solo — amplified plucked lyre develops the opening folk motif; nimble fingerpicked variations, ringing open strings, tremolo plucking and rhythmic damping; bass and toms enter first, then heavy guitars and full live drums; lyre clearly in front] [Transition — last lyre phrase repeats in accelerating stereo fragments; reverse cymbal swell, one beat of silence] [Final Chorus — explosive full-band return; powerful husky female clean lead layered with deep growls and cutting screams; plaintive Slavic folk-inspired melody over massive half-time guitars] Sael a vaern — saelruna, saelruna! Keldri vaeshun — morvanna, morvanna! Sael a vaern — naevara ná! Kaeritha vaelun, kaeritha þrá! [Transition — final vocal note freezes into granular noise; the lyre motif is chopped into a jagged rhythmic pattern] [Dubstep Breakdown — one short eight-bar finale; distorted formant bass and downtuned guitar stabs trade phrases over crushing half-time drums; chopped lyre plucks, metallic impacts and abrupt stop-start gaps; no new lyrics] [Outro — electronics, guitars and drums stop together; acoustic lyre alone plays the opening phrase once, final strings are sharply damped, hard cut]
