Although this isn't a coherent concept album, it is meant to have a kind of vague theme around eschatology and the ultimately cyclical nature of everything in existence; everything ends, but in some way every ending is a new beginning. In a way, it's also about how everything is connected and how ultimately what humans consider sacred is meaningless compared to the deeper spiritual truth, and how different spiritual conceptions are all reflections of the same thing.

"Ouroboros" might not be the best opening track since it starts off so basic, but isn't that good in a way? If you make it past the first 15 seconds, isn't it worth it? Well, maybe not if you expected the entire album to be like that, but... ehh...

"The Day the Sun Will Rise from the West" was the first song I made for this album, and as such it's the most basic. At first the idea wasn't even to make a proggy album but rather just a noisy lo-fi metal album, like, I was thinking this would be a pretty straightforward album that I'd throw together in a month or two... but then about a week later I made "The Chrysanthemother" (which didn't end up on this album) and the focus shifted to metal with some influences from Middle Eastern and Indian folk and classical music. To reflect that, I added a few things to the album version of this song that aren't in the single version.

"The Cycle of Deicide" is a pseudo-remake of a song I made in 2010 as Goat Bishop (on the album "Extinction"), as in it's intentionally partially similar to the old song with the same title but regardless a completely new song. The old version was pretty bad, but it was one of the first songs where I ever tried to include influences from Middle Eastern and Indian music so it felt natural to make a new version of it for this album.

"Grotesque Florescent Symphysy" started out as an attempt to make a proggy jazzy song, with no parts in 4/4, but of course it ended up having a lot of 4/4 in it anyway and it's not that jazzy. So, at some point I just decided to make it a weird song.

"Carnal Mandala" has some of the same electric harp recordings as "The Cycle of Deicide" because... well, honestly it's because it started off as just a test of the electric harp that I didn't even mean to finish so I then used the same recordings in "The Cycle of Deicide", but figured I'd finish the electric harp test track anyway and as such it turned out something you could call a continuation of "The Cycle of Deicide". I didn't want to have them one after another on the album, though, that would've been too repetitive.

Originally, "Numen" was two songs that I forced together even though they didn't really fit together even by my standards, and then later fixed it up to blend them better, and I think it turned out alright. There's also horrendously out-of-tune guitar and bass in that one part that could be called a chorus, but at the end of the day dissonance is dissonance and who doesn't like dissonance?

"Adorcism" was at one point intended to be the last song on this album, evident from how it ends, but a day or two later I decided the fact that it has such a high proportion of clean vocals (especially near the end) makes it ineligible to be the last song. It just sounded wrong, and those clean vocals themselves do sound awful, so...

"Feeding the Demiurge" is a pseudo-remake of a song I made in 2012 as Heave the Sun (on the album "Empyreal Obtenebration"), but it's a lot less evident than in "The Cycle of Deicide". I'm pretty sure it also contains the highest note I sung on this album, but I can't be arsed to make sure. if that's the case My vocal range is shrinking (from both the low end and the high end), so it was a bit surprising that I could get that out of myself.

"Iridescent Manifestation of the Celestial Serpent" started out as an attempt to make a proper jazz song, but as that goes, it only has some shallow jazz influences. The latter part of the melody in one part near the end ended up accidentally similar to a certain famous song, but I figured it's not TOO similar considering it's just one guitar bit over stuff that otherwise has zero similarity to it.

I just had to make a song called "The Night the Sun Will Set in the East" to complement "The Day the Sun Will Rise from the West", and included siren noises in it as well to make it have something more in common with it. At first I was going to make them the first and last track on the album, but it just didn't sound right. From 5:03 to 5:26, there's kantele alongside guitar.

"Enlightenment and Annihilation" is basically just a wrap-up track, but I'm really satisfied with how it turned out.

Tracks 1, 5, 7, 8, 10 and 11 have parts with fretless bass, including used in place of guitars at times.

Tracks 3, 5 and 11 have parts with electric harp instead of and/or alongside guitars.