The fourth, and most controversial segue is the NDH style "Die Eier von Satan". It is introduced by a distorted bassline giving way to a heavy industrial guitar, starting at the :23 mark and lasting only ten seconds, playing a single chord in Drop C tuning over a reversed drum beat in non-isochronal meter using an aksak rhythm of 3+2+2+2. The lyrical component of the song is spoken in German by Marko Fox, bass player for ZAUM and SexTapes. He is backed by a sound that resembles a hydraulic press, and crowd cheering and applause that increase in volume as the lyrics are read with increasing ferocity, with the greatest emphasis on the line "Und Keine Eier" ("And no eggs") which is repeated several times. These combined effects make the song sound like a militant German rant or Nazi rally. While the tone is aggressive, the speaker is merely reciting a recipe for a cannabis edible. The song was originally translated by Gudrun Fox. According to Blair McKenzie Blake, the maintainer of Tool's official website, "Die Eier von Satan" originally were cookies that "Marko Fox's grandmother used to bake for him as a child, without using eggs as an ingredient. The substitution for eggs is a magical incantation from the worm-eaten pages of some moldering grimoire." This magical incantation ("sim salabim bamba sala do saladim") is taken from the German children's song "Auf einem Baum ein Kuckuck" and popularized by Harry August Jansen. According to the lyrics, the special ingredient besides this "incantation" is "a knife-tip of Turkish hashish". The title is a play on deviled eggs, translating to "The eggs of Satan" in English or "The balls of Satan", due to a German double entendre of "eier". So far the only time it has been performed live in its entirety was on December 19, 1996 at the Universal Amphitheatre in Los Angeles. The track has been compared to the work of industrial and experimental artists such as Einstürzende Neubauten, Rammstein and Tom Waits.