This track ended up requiring the most complex recording process.
It’s really in three parts, and it’s got looping, harmonics, tons of layers, a bitcrushed Purdie shuffle (played on bass of course), backwards bass, a metric modulation (tempo change) and even slap bass.
It’s also the personal favourite of Nils Brakchi who did the cover painting. And he’s a lovely bass player, so he would know!
All sounds produced on a ’65 Fender Precision Bass which of course explain the title.