to introduce "Altamont". Head Heritage interpreted it to represent the moment where the "curtain of reality" is torn down, and thus the real apocalypse and the circus show apocalypse begin to intertwine as per Ferris' concept. "Altamont", chosen as one of the highlights of the album by AllMusic, contains a repetitive funk-influenced groove, Roussos scatting along with the bassline, vibraphone by Vangelis, and overdubbed horns by Halkitis. The second half of the song introduces additional narration, referring to the imagery of previous songs and describing the sight of the apocalypse as "the pictures of what was, of what is, of what has to come". One of the lines of the narration, "We are the people/The rolling people", later inspired the title of The Verve's "The Rolling People". "Altamont" ends by crossfading into "The Wedding of the Lamb", a world music-influenced instrumental that contains an electronic keyboard melody backed by wordless vocalising and syncopated, rhythmic drumming. The instrumental in turn crossfades into "The Capture of the Beast", a drum solo by Sideras that makes heavy use of toms and percussion instruments, performed over Vangelis' keyboard drones and effects. The songs are linked together by brief spoken lines recited in a halting manner which announce their titles, "That was 'The Wedding of the Lamb'" at the end of the former, and "Now comes 'The Capture of the Beast'" at the beginning of the latter. "∞" ("Infinity"), the most controversial song on the album, consists of the Greek actress Irene Papas chanting "I was, I am, I am to come" over a sparse percussion track, gradually building into an orgasmic frenzy. Vangelis described the track as conveying "the pain of birth and the joy of intercourse." Ferris originally sought a narrator with a heavy British accent to recite the lyric, in order to create a contrast with the climactic frenzy, but Papas' improvisation was chosen instead because it made a stronger impression. Hegarty and Halliwell describe the song as part of the "increased cacophony" that marks the progression towards the apocalypse. Melody Maker remarked in 1972 that in light of the publicity received by Serge Gainsbourg's "Je t'aime... moi non plus", it was "odd" that the media overlooked 666, but that it would have been a "pity" if it achieved notoriety solely due to Papas' contribution. A sample of Papas taking sharp breaths was used in Enigma's "Principles of Lust". "Hic et Nunc"