The second (and much more refined) track by Iwao Katashi on this album, Totentanz no Kikurushi, Japanese for "The Totentanz of Kikurushi" (Totentanz being the German word for Danse Macabre, itself the French for Dance of Death) picks up right after where Cathedral of Suicide left off: right after the resurrection of the dead husbands of the war widows who either live in grief or have committed suicide due to their grief.
The track is lightning fast, almost never dipping below presto tempo (200 BPM) and at points exceeding prestississimo (going over 300 BPM and even going over 400 BPM at some points), all whilst maintaining an absolutely vicious and brutal spirit, with extremely quick guitar and bass, as well as blast beats so fast that it requires a quad pedal setup for the bass drums. The song even has an organ section that plays rapid chords as it plays two cycles of the Dies Irae, representing the Day of Wrath for the husbands being hunted down.
The track represents the massacre of the husbands unfaithful in their promise, so that the war widows might be avenged and their souls may enter Yomi in peace. At the very end of it all, when the final blow is delivered to the last man standing, the blood red blade of tears that Kikurushi bears, the Mibōjin-no-Namida-Hanketsu, finally loses its blood red tone as the tears drop like shards of glass from it, returning it to its normal metal appearance until the sorrow of war widows once again will fill it with bloody tears.
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