Six seconds of near-silence, then the frame drum enters alone — widely spaced strokes at first, tightening into a quick, even beat by about 0:10. The job here is entry preparation: set the one gait that every later layer joins.

The deep voice enters at 0:14 with Svarte skyar rir i meg, long tones that climb near 0:32 and taper by 0:48; around 0:54 it pauses and the drum sounds alone for a few beats. The form narrows to its two elements and shows they can come apart.

The voice returns at 0:57 in a more rhythmic chant, further low voices layer in from about 1:30, and a full male ensemble chants together through a long unison lift near 1:40–1:55 before easing back toward 2:00. This span establishes the group chant as the song's fullest texture.

The 2:00 stanza passes prominence back to a single voice, clearly foreground from about 2:31, while near 2:55 the drumming shifts to a heavier, stamping pattern. The section delays the ensemble's return and re-weights the pair: more percussive mass below, one voice above.

At 3:02 the riding stanza begins, ensemble voices rejoin around 3:25, and the chant holds its sustained peak from about 3:40 to 4:03. The altered return — same texture as the first ensemble span, more voices and force — confirms that chant as the song's home.

The descent starts around 4:03; the closing lines at 4:05 and I byrd er bunde at 4:17 sound over a release that thins the mass until only the frame drum remains near 4:35. Its last strokes land close to 4:41, and the rest is decay into silence — closure by subtraction rather than resolution.

Across the whole recording the basic drum pulse largely persists, with a late gain in percussive weight, while most formal change comes from vocal density — one voice, then many, then one, then none.