"Krasnodar Krai", the first track on the album, "tells the story of a Cossack warrior riding home" to find 'home' has changed. The Quietus described second track "Altai Krai" as having "the feel of a square dance," while The New York Times noted its use of the throat singing indigenous to the Altai region. Third track "Perm Krai" was characterized as "smooth fusion with art-prog and metal edges, like a chance meeting of Basia, Henry Cow, and Marnie Stern." The album's fourth track "Stavropol Krai" is a "lament" in which archangels meet a sinful soul, according to The New York Times. "Krasnoyarsk Krai", track 5, features eclectic instrumentation "and Bell's ghostly, pitched-down vocals." A "flurry of Rhodes electric piano" is notable in 6th track "Primorsky Krai", also described as melodic. The New York Times review went on to describe how Bell "sobs pridefully" in "Khabarovsk Krai", track 8, with lyrics praising "Russia, Mother Russia, Russian Motherland". The final track on the album, "Kamchatka Krai", features "changing tempos, piercing guitar lines, and ecstatic vocal swoops,"" has lyrics referencing shamans and percussion instruments, and is also characterized by "combative vocals and shrill electric guitars."