Solo voice enters after a brief hush and holds the field by itself. The chant establishes pitch, breath, and address before any groove arrives.

Light percussion and bass lock under the voice. Nieida and Gánda name the listeners; the first stanza delivers the foremothers’ call—Gula máttut, earth as shared mother—while the pocket settles and carries the address forward.

A second lyric turn keeps the same groove but shifts the questions: complicity, memory of origin, sisters and brothers in distant lands. The form stays continuous; the words enlarge who is being spoken to.

Nieida / Gánda reappear, then the Gula máttut material and its refrains cycle again. Repetition does the work—proving the call still holds rather than introducing a new section job.

Pressure eases; attention and motor hold loosen. Voice and groove thin together into terminal silence, leaving the form without a hard cadence.

The track is one long held address: solo entry, groove-backed call, widened charge, refrain return, then a slow drain.