I can't talk about this song without just flat-out saying it's an absolute masterpiece and one of the finest pieces Devin has ever produced in his career. While other songs on the album express a very outward anger, this song, in contrast, takes a more introspective turn and deals with his mental health issues and his own personal struggles with anxiety. Yet, it does not lose any of the intensity and energy that the others provide. While the rest of the song is obviously excellent, with its heavy riffage, punk-y backing vocals, and higher emphasis on melodicism - the real star of the show is the midsection, which brings the tempo down and simplifies the song down to four chords and one of Devin's most emotional vocal performances put to record, before getting even more beautiful as it's reduced to two chords, with heavier synth pads creating a dreamlike atmosphere. Then, after a final cry of "God, I'm so lonely" (a phrase that sounds melodramatic and edgy on paper, but is delivered with utmost sincerity here), the song is thrust back into its high-tempo riffage.
This song's drum part is primarily based on fast (but not too stamina-breaking) thrash/punk beats, with some sections riding on the hi-hat with quick double kicks, and other parts alternating between two crash cymbals with constant 16th bass notes. Naturally, there's some pretty neat fills thrown in there as well. When the song initially breaks down into a slower tempo, the 16th bass continues into a ghost-note-littered hi-hat pattern. Throughout the bridge, there's a very simple quarter note crash beat, but with a more complex (and also catchy) kick rhythm driving the song and following the strumming pattern of the guitar and bass.
The guitar chart features a good amount of 16th note strumming. The main verse is initially based on two notes, but later becomes more complex and spans the fretboard. Intertwined with this riff is some tremolo strumming on 3-note chords (mmm, points.) Before the chorus, which features a variety of 2-note chords strummed in 16ths, there's a very tricky riff with ascending notes across the frets, anchored on green. The bridge contains a 4- (later 2-)chord riff with a neat strumming pattern, and shortly afterwards is a variation on the verse with a mix of snaky and descending patterns.
The bass chart is a great example of the guitar-mimicking trope that seems very prevalent in this pack. All of the riffs are very similar to the guitar part, except with no chords and slightly simplified in some areas (interestingly making it one of the hardest bass charts in the pack). Thus, there's not much to independently talk about here.
Like other songs in the pack, the keys here are largely textural, and are largely made up of simple chords.
The vocal part in general has a much greater focus on pitched, melodic vocals compared to other songs in the pack. While the melodies are not terribly complex, they're still very fun to sing - especially the bridge, if you find that part as emotionally powerful as I do. Of course, it has its fair share of pitched screams as well, adding to the difficulty. While the harmonies are largely the backing "Hey! You mo'!" chant, HARM2 does get its own unique melody shortly after the bridge.