an instrumental entitled "Veganites". Some of the tracks on the album are based on fictional stories. Structure The pipe-led "Wacko King Hako" opens the album with a mystical vibe and features sounds reminiscent of whale calls It is based on the fictional story about the Viking ruler who in 1263 lost a battle to the Scots at Largs. When returning to Shetland, he and his fleet of long ships stopped in Pool Roag in front of where the band's studio now stands and "probably had one last raid on the community." "Fear Eile", one of two traditional-based pieces on the album, is the first track on the album to feature vocals, albeit in Gaelic, performed by Neilson and Hutton. Featuring a somewhat postmodern arrangement mixing traditional and contemporary styles, the uptempo song has been described as an island rowing song; the liner notes state the song tells "of the island man's passion for rowing off to neighbouring islands to collect fresh women", joking that "the building of the Skye Bridge much to do with the demise of this tradition." The different melodies to both parts of the driving "The Phat Controller/The Red Bee" interweave, rather than the first part leading directly into the next. Written during the night, the track is another mix between traditional and modern styles, and features sparse vocals, contemporary sounding bass and eminent whistle playing. Guitarist Tom Salter wrote the "Phat Controller" part after thinking he had completed his work on the album. The upbeat "Ironing Maiden" features a disparate array of sounds. The title track "Welcome to Dun Vegas" was recorded in a "whisky haze" at 4am following a session in the Dunvegan hotel. After producer Calum McLean noticed a cooker clock producing an interesting rhythm, he recorded and tampered with it and asked the band to come up with a tune around the sound, thus creating the track. Pipes and bass seep gently into the piece, while Neilson's fiddle playing adds a psychedelic element. The experimental "Shifting Peat & Feet" features lyrical pipe playing and backwards drumming from the band's percussionist Iain Copeland. The African-inspired rhythm was based on another that Copeland learnt while in a Namibian workshop. "Gibbering Smit" refers to the band's lighting engineer Niall 'Smit' Smythe, Irish "gibbering champion," who "kissed the Blarney Stone three times." "Morning Dew", the second and final traditional track on the album, features an unsettling, modern