Follows the ABtransA pattern that they use often and the little transistion is really awesome, as usual. The B section is typically instrumental, but the weird thing is that it's the more straightforward and less dissonant part. A lot of times the B section is a noise improv, or something like that. In a lot of ways, PCH is like an inverted Becuz.
Also, has anybody noticed the cool relationship between the alternating notes in the sections? The A section alternates between two notes a half-step apart and seems to always be moving up towards the higher note and in the B section the alternating notes are a whole-step apart and just give this really nice going nowhere feeling. The half-step alternation sounds like it's going up because, basically, we're moving from an Emin to an EMaj chord and that's the way it's going to sound, particularly with the rhythm they use. The alternation in the B section is more ambiguous - moving between F# and E. But to me it sounds like moving between V and IV. The unplayed I feels like B to me.
And, in usual SY fashion, the tonality is implied, but we never get a cadence. It's this awesome floaty feeling that really propels the song. Am I the only one who wants to hear a B Major chord from when the B section starts till the end of the song?