A simpler version of this song was written in the early eighties.
When it first came together, it was based on two main sections, a chorus and a verse. The first is (A2) (B), in the score on pages 3 and 4, the chorus. The chords for (A2), played twice, were used as an intro, (A1) (A1). The second being (C) (C) (D), the verse. The second verse lyrics arose later. Originally, I just sang (A1) (A1) (A2) (B) (C) (C) (D) and then repeated from the start after singing "stands between you and the" in (D) and landing on "air" in (A1) and in the reapeat ending abruptly on the word "end" over a staccato G chord, an effect borrowed from Roger Waters.
Working on the Pachyderm project in 2004 I dug up an old riff written back in the early eighties when studying the 12121212 (intervals) diminished scale: 1 ♭2 ♭3 ♭4 ♭5 5 6 ♭7 8, using it as a bass line and added sound effects and voices in order to invoke something primal creating a musique concrète overture, (G).
The second verse had arisen in the interim and more recently an entirely new lyric section, (E), which is introduced by the (D) variation, (D'). Also an out chorus (F), which is repeated several times at the end, concluding with repetitions of the fifth bar. This is introduced by ending the final reprise of (E) with the last syllable dropping on F♯ in F♯7, instead of E in Em.
The score on the following pages just has melodies and chord symbols, outlining the various elements. The actual running form is (G) (A1) (A1) (A2) (B) (C) (C) (D) (D') (E) (A2) (B) (C) (C) (D) (D') (E) (A2) (B) (E) (E) (F) (F) ...
Part of my original intention with this song was generating melodic and harmonic ideas using different modes and developing changes in interest from a single major scale without any chromaticism or traditional key changes. That is, to have a variety of modal effects, seeming like there are key changes but without using classical mechanisms. One moment it's centred on G, Ionian mode, then the next it drops into E, Aeolian mode and then there are definite D Mixolydian phrases which does have a perfect cadence back into G Ionian in one case, which is an exception, but without changing the underlying scale.
The new section (E) is yet another D Mixolydian idea, with contrasting harmony, but the segue into the out chorus is a traditional cadence into B minor. But, I don't keep the D# and the riff is in B Aeolian mode, but still an exception due to the C♯ in this mode. It concludes with Bsus4/E harmony - very enigmatic.
The end result is linked on the Pachyderm page.