0:00-0:40 — Establishes the contract

A steady pattern is in place from the first seconds before the lyric has a job to do. The open vocal cry around 0:15 is the first sustained arrival, but it does not start the verse; it stamps the existing motion. When the German line enters around 0:40, the words ride the pattern rather than redirect it.

0:52-1:45 — Narrows into the name-refrain, then opens the first cycle

The first “Incubus / Succubus” chant is the first clear refrain function: short, repeatable, fitted tightly to the grid. Its return around 1:04 confirms it as the hinge. The “Feuer” call and the following lines open the lyric field outward, while the band keeps the same carried time.

1:45-2:44 — Reloads the cycle

The refrain returns at 1:45, then the demons/heaven line around 2:06 acts less like a new verse than a charged insert. The chant at 2:18 closes the loop again. The arrangement does not clear space for contrast; it shows the same frame absorbing another vocal turn.

2:44-3:52 — Delays, then returns with altered lyric weight

After the 2:18 refrain, the track holds its pattern through an extended passage before the “Morgenstern” line appears around 3:08. The refrain at 3:20 re-establishes the main marker, but the line about the place with no light around 3:32 and the “energy of night” phrase at 3:52 stretch the vocal field past simple call-and-answer.

4:10-4:45 — Final return and release

The last refrain arrives around 4:10 as confirmation, not climax. Nothing breaks open; the song stays with its motor pattern until the hold loosens after 4:36, then the carried motion drops away in the last seconds.

Whole form: establish the pulse, bind it to the chant, keep reloading the chant, then let it go.