0:00-0:04 Threshold / pulse appears

• A short blank space gives way to the beat.
• The track establishes motion before any lyric frame arrives: warm sustain underneath, small percussive marks around the grid.

0:04-0:21 Intro groove

• The main pattern settles quickly and stays light rather than heavy.
• Bright surface details and a quick upper ornament near 0:21 define the track’s edge without interrupting the cycle.

0:22-0:42 First verse / first image-field

• The voice enters inside the existing groove, not as a formal break from it.
• The lyric begins tying beginning, memory, return, and pattern to a musical loop the listener is already inhabiting.

0:42-1:00 First refrain

• The repeated Earth/hearing phrase widens the scale of the song.
• The arrangement stays restrained: steady percussion, warm center, no dramatic lift.

1:00-1:18 Second verse / water and roots

• The lyric frame deepens while the low pull remains gentle.
• Instead of adding weight, the track keeps the same patient circular motion.

1:18-1:38 Refrain return

• The refrain functions less like a new chorus event than a renewal of the established ground.
• Repetition becomes the form’s main organizing force.

1:38-2:14 Middle turn

• The lyric introduces historical breakage and forward motion.
• Musically, the groove does not fracture; it holds the turn inside the same repeating pattern.

2:14-3:14 Extended cycle

• The track remains in its central state: voice, pulse, warm suspension, and small surface motion.
• The repeated refrain language accumulates by duration rather than by escalation.

3:14-3:33 Silence prepared

• A late lyric turn points directly toward silence.
• The arrangement stays soft-edged, preparing the exit before the beat actually drops away.

3:33-3:45 Final refrain / last carried pass

• The final refrain returns as the last full circuit of the song’s pattern.
• By the healing line near 3:42, the groove is still present but beginning to loosen.

3:45-4:23 Dropout and long silence

• Around 3:45 the carried motion gives way.
• By 3:54 the recording has emptied into silence, which lasts long enough to become part of the form rather than a simple cutoff.