high octane affairs" and "standing on the boulevard, you wish to know my name". "Paris Smith" was inspired by Wendy Smith's admission that, if she were to have a child, she'd give it an incongruous name to play against her surname. Wendy's choice for a girl was Paris. The song lyrically addresses a child in what McAloon described as "an attempt to exorcise my fears for the future". The music is sparse, with a Dimension D chorus effect on the lead vocal (a feature carried over from the demo). "The Wedding March" concerns marriage, with the lyrics declaring matrimony "one dance whose steps I never could learn". McAloon preferred the song's demo to the studio recording and described the song as "lyrically quite hard" despite the mellow musical backing and backing vocals he compared to Huey, Dewey, and Louie. Tracks 15–19 (Death and fate) Dubbed "death and fate" in several interviews, McAloon described the album's last five tracks as "a section on the modern way of death" that deals with "fundamental questions". Stuart Maconie has described the suite as "a rosary of agnostic doubt and weirdly uplifting musings on death" that "may be the most intelligent take on spiritual matters that modern pop has produced." Three of the tracks – "One of the Broken", "Mercy" and "Doo Wop in Harlem" – were written by McAloon in a flash of inspiration whilst he was waiting for a reel-to-reel tape to rewind. McAloon considered "One of the Broken" among his best compositions. The country-influenced song is written from the perspective of God; its first verse begins "Hi, this is God here". Described by journalist Martin Townsend as a dreamy blues, "One of the Broken" has the creator urging the faithful to help others rather that sing any "hymn of devotion". In contrast, "Michael" is sung from the perspective of a regretful Satan wishing to get back into heaven and surprising the archangel Michael by requesting help on writing a letter to God. The song features a more modern and intense arrangement than "One of the Broken", creating an intentional sense of opposition between God and the Devil. According to Adam Mason of PopMatters, "Michael" is marked by a "gloriously sinister synth texture worthy of Depeche Mode". "Mercy" is the album's shortest track, performed solo by McAloon on acoustic guitar. It can be read as both a further plea from Satan or as