"Mirror Saw" | description3 = "Mirror Saw" is an example of the album's moments of melancholy. |format3 = Ogg }} The album's third track, "Knowhere?", is one of Skinny Puppy's darkest and heaviest. Sputnikmusic wrote that the percussion at the beginning of the song "seems to be created through the combination of an explosion and a gunshot". Though almost all of the industrial metal influence that Al Jourgensen brought into Skinny Puppy with the 1989 album Rabies is absent on Last Rights, "Knowhere?" includes slow, chugging electric guitar buried beneath the distorted drums and shrieked vocals. The track peaks at a moment when the instruments build to complete, nearly indiscernible noise. In 1992, Sandra Garcia of B Side magazine wrote that the song "stopped her dead three times", making her put the album down. She continued, saying, "With the fourth try I realized it really was listening to someone going through hell". The next song, "Mirror Saw", is a quieter, more morose track built around stilted drum clips and warbling, distant synthesizer sounds. It began as a demo recorded by Goettel that the band later added live drums and additional sounds to. "Inquisition" marks Last Rights midpoint and stands as its primary single. Despite being a propulsive, sample-heavy, pounding industrial dance track, it still acts as a lull from the album's chaos. AllMusic's John Bush saw the song as the album's pinnacle, calling it a "heart-stopping single whose production contributed just as much to the air of menace as Ogre's vocals". Jon Selzer of Melody Maker described the song as a "utopian lament". The sixth song, "Scrapyard", is another assault of unconventional noises with jarring rhythmic stops, contrasting periods of acoustic guitar with growled vocals and relentlessly pounding kick drums. Key considered "Scrapyard" one of the album's more exciting tracks. It features a sample from John Hughes' 1989 film Uncle Buck. "Riverz End", the album's first instrumental piece, combines two tracks from Rabies, "Rivers" and "Choralone". Key intended the song to be one more break from cacophony, and Selzer deemed it another instance of hopeful sorrow. Diana Valois of The Morning Call called "Riverz End" pretty but compared it to a foul pool spiked with needles and rusted junk in the same breath. "Lust Chance", another largely instrumental song, provides an eerie combination of pornographic audio samples, reverberating and repetitious bass drums, and manipulated electronic sounds. Like "Scrapyard", "Lust Chance"