"Frosti" fades into "Aurora", while "a warm, faintly crunchy sound" is heard. Those are samples of footprints in the snow – the work of Matmos —, re-appropriated as the song's "subtly shifting beat". "Aurora" has been described as "something that appeals to a child-like imagination", and having a "magical and airy quality". In the lyrics, she addresses a Nature goddess, and sings about "literally dissolving with pleasure" as she "prays to become one with the pure color of the northern lights". One of Björk's broodiest compositions, "An Echo, a Stain" is underpinned by a creeping choir line and nibbling clicks, and features an "unresolved, ominous tension" that is atypical of her writing style. Most of the song's lyrics speak directly to incidents in Sarah Kane's 1998 dark-themed play "Crave", so much so that it was titled "Crave" up to the last minute. "Sun in My Mouth" is an adaptation of E.E. Cummings' poem "I will wade out/Till my thighs are steeped in burning flowers", with an emphasis on the vocal and accompaniment provided by a string orchestra, a harp, and soft electronica. The track's lyrics have been considered a "startling allusion to masturbation", positioned "within the fantasy-like imagery of burning flowers, sea-girls, darkness and the sun". This track, and the album in general, have a "resounding message of sexual liberation" that reinforces Björk's "resistance to the socially constructed categories of gender," which has generated analysis associating it with Donna Haraway's 1983 essay, "A Cyborg Manifesto".