Thanks to Septekka for chart testing and the following write up:
This song's title is pretty accurate, because it's at this point where the album gets shot straight into space. It's an endlessly reverberating blissful fuckfest, and I mean that in the absolute best of possible ways. Following the sessions with Brian Eno, Halstead started taking more influence from the genres of ambient, IDM, and dub, which was displayed most significantly on this track (prior to the band's third album, at least). It starts soft, with echoing guitar and other effects floating around, before it starts to pound its way along with heavy drums and a driving bassline. Goswell's angelic, otherwordly, harmonizing vocals enter in, adding more beauty to the piece, which gets more and more tripped out as it goes along, with increasingly layered guitars, and the once-solid drums now reverberating away into obscurity. The song slowly starts to disintegrate as it reaches its end, with the very ending perhaps being an inspiration for the end of Radiohead's famous "Karma Police."
The guitar part focuses mainly on a progression of 3 chords - the delay echoing was charted as separate notes so there's less dead space where you're hearing notes but not playing them. The chorus has an ascending progression anchored to green, and later on in the song there's a good amount of variation, with the outro being totally different from the rest.
The drums mostly play the same beat (with some variations later on), anchored by a solid kick and snare with interesting hi-hat placement above that, and alternates between hitting a crash cymbal and an unique dub-esque percussion sound at the start of each measure.
Like "Sing," this song has another slightly repetitive but still really cool bassline that's no slouch compared to the other parts in the song.
The vocal part has a lot of really cool harmonization, from the block harmonies in the chorus and final verse, to the third harmony singing totally different lyrics and melodies in the main verses and chorus.