The album is divided into 3 parts, the first one being a continuous, constantly progressing and regressing track that switches themes back and forth. “Altered Beast” and “Alter Me” flow into each other swiftly, it’s stakes and action being risen by a mysterious, ominous narration about cannibalism, death, and darkness. The percussion feels punchy, frenetic and anti-catchy. The guitars squeal in parallel with the vocals, as they warp and change speed, with lyrics of emotionless nihilism. Repetition plays a big part, as the cuts between bridges, choruses and solos smash against each other with no hesitation. The final song of the first third ups the whimsy in a spirit of optimistic desolation, before falling into a wicked and high-pitched descent into silence.
As the second section begins, a short buildup arrives at a droning warble of technological voices and synthesized instrumentation in “The Reticent Raconteur”. As the percussion kicks in in the song “The Lord of Lightning”, the power of the chords mixes with the incoming explosion of fast-paced and aggressive garage rock. Once again, the noises blend with the voices to create a parallax of sound. The epic nature of the riffs is consistent and always increasing, devolving into a frenzy of auditory input. “The Balrog” begins immediately and sticks to the pre-established quickness and quirkiness of it’s composition and lyricism. After reaching a massively intense state, it drops as the narration kicks in once again. “The Floating Fire” begins like a cultish ritual, murmurs and deep drums clouding the weak guitar. Oppressive and assertive vocals establish the mood of sheer power as the beat builds up in unison, persisting until it unleashes a stream of twisting and kinetic action. Finally, “The Acrid Corpse” drowns the scene in smooth and base-y tones, with a jazzy, R&B vibe that carries it and it’s female narrator into the end of the second section.
A apocalyptic scenario appears into “Welcome to an Altered Future”, as a digital voice welcomes us into the crazy nature and the hardcore metal feel of “Digital Black”. At the end of the song, the technological garble meshes into the metal’s solo parts, creating a distorted, alien sensation. “Han-Tyumi, the Confused Cyborg” changes the tone entirely, becoming a silly, sad story about a cyborg’s desire for humanity. It bounces and skates through it’s percussion without resistance, yet never feels out of place and the vocals merge with the background drums and occasional beeps perfectly. The cyborg continues into “Soy-Protein Munt Machine”, as a large screech is heard to break up the scene and return to the hard rock style of “Vomit Coffin”. As it screams again, the cyborg returns to telling his story of depression and nihilism, as it switches once more into a riff-layered chorus after it’s done. In “Murder of the Universe”, the lyrics melt into a pot of insanity and disgusting concepts of pointlessness as the background music slowly takes over the scene and reduces the speed for a striking, wobbly base as it’s absolute end.