This is the second part of the Trilogy, and is therefore placed around the middle of the album. I was futzing around with a variation on the Totla Mad tuning (BbGDFAD) where you maintain the note relationship on the bottom two strings but on a 7 string, so with our 7s being a half step down, this also brings the low note to F#. The ideas I had for this song didn’t require an 8 string, so I figure I would just downtune from our regular tuning and mess around with that. The first riff is that typical Meshuggah style groove, but with a strange motif over the top. That motif comes back at the end of the song as a more grounded version, and at a slower tempo. I wanted this song to have a bit more of an evil vibe but i still wanted it to groove, and I remember attempting to channel a bit of Mussorgsky’s Night on Bald Mountain (you know the song, Youtube it) or something dark like that. Eventually the song makes it to a prettier and more epic section which is referencing the first riff in Muramasa in feel, but with a different progression and tempo, and it also gets linked back lyrically. When I originally demoed this song, I wanted a sort of Jekyll/Hyde moment, except in this song it is reversed (Evil to good). Masamune is the other Jekyll/Hyde song but that one is the correct way round. Jake wrote the interlude at the end of the song as a nod to a motif in one of our favorite sections in the last album’s epic closer “Racecar”. I have seen both Dream Theater and Devin Townsend reference songs/motifs across albums, and Jake and I love that kinda stuff, so we thought it would be a fun little easter egg as well as a cool way to revisit that theme with a twist. – Misha
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