Ben programmed a chill beat and added some ethereal chords, but left as much space as possible for other musicians to give the song life. After hearing Ben's ghostly beats, Patrick felt the need to add chilling sounds with the bells and harps. With bass and a “creepy piano,” Mark fleshed out the harmonic progression and song structure. Zane ran the seed-track through multiple tempo-synced delays so it would harmonize with itself and have more of a propulsive rhythm and sent that to a bus with some modular synth to be sidechained by the kick for the sake of cohesion and leaving some space in the mix, then he ran his bass through a bunch of distortion and filters while aggressively plucking harmonics to make the ugliest drums. Hearing the first four tracks conjured up scenes of Eurythmics music videos, Blade Runner, and 1980's dance clubs for Sasha, leaving her to finish off the track with some 80's inspired moody lyrics and vocals.