Low voices arrive under the pad, soft and massed, more like a room filling than a single singer stepping forward.

The band lands all at once. The floor drops out from under the choir and the drums take the room.

From here the groove just drives. Double-kick under a wall of guitar, and it holds this pressure for minutes without letting up.

A lead voice cuts through now, chanted and clear, riding straight on top of the beat instead of against it.

And the choir stacks in behind him, one layer then another, until the vocal mass nearly matches the guitars.

The wall pulls back. Distortion gives way to plucked strings and a marching drum, and for a stretch the track walks instead of charging.

A single voice steps into that open space, close and unforced, with room around every phrase.

The guitars come back at full weight, and this time the voice is already riding on top when they arrive.

Another clearing. The rhythm thins again, and the same kind of open closeness returns, harmonies folding in one at a time.

Near the end the drums step back and the strings swell forward, like the floor sliding out slow instead of collapsing.

Then only the pad, decaying into the room, until even that lets go.