The first movement of the Piano Concerto No. 2 in C minor is in sonata-allegro form. It begins with piano chords, which are punctuated by bass octaves. The first eight chords from the piano solo have a gradual crescendo. These chords emulate the sound of a bell, which is heard faintly at the start, but grows louder each time it is struck. The bell-like sounds are a result of Rachmaninoff's compositional style. He uses widely spaced chords to produce the bell-like sounds. The opening to this piece reflects Rachmaninoff's background. The music has a distinct sound, characterized by Rachmaninoff, which has a certain Russian quality. This is not surprising, as Rachmaninoff liked Russian Orthodox chants, and many of his melodies were influenced by them. This movement ends with a series of arpeggios, which serve as an accompaniment. The second movement of this piece serves as an interlude between the first and third movements. The feeling derived from listening to this part is that of sorrow and anguish, but at times, of joy. This contrast in emotions makes this movement more “touching”, especially when considering the rough times Rachmaninoff was going through while writing composing it. The second movement ends with a piano cadenza, which leads to the third movement. The opening theme in the third movement is very quick, and soon leads to the restatement of the grand, main themes. Rachmaninoff creates a suspenseful buildup, followed by the restatement of the main theme. A coda closes off the movement.
Space Dementia begins with a piano solo, which is similar to the introduction from Piano Concerto No. 2 in C minor. After the introduction, the verse of the song is played. It contains hammering piano and bass portions. Overall, the verses are the heaviest parts of the song. When the chorus begins, a synthesized keyboard serves as the introduction. The synthesizer keyboard loops, and is proceeded by a delicate vocal portion. Once again, a hammering piano proceeds the upcoming verse. The end of the song is marked by an extended chorus, which is followed by a heavy codus. The “heavy” tone in the codus is achieved by applying distortion effects to the bass, and phaser effects to the piano, guitar, and zipper.