Opening with “Way The World Is,” the initial sounds come directly from the raging percussion that is a speeding locomotive silver bullet that flies out from the tunnel. It catches the audience off guard but Chris Cooper on percussion is a beast that lays the stonework and bricks for musical foundations. Then as the guitar from Graeme Naysmith and the bass/vocals from Ian Masters begin to shout into the void alongside, Pale Saints acquires a full line-up that is as illustrative as it is doused in the flames of New Wave.
Much of The Comforts Of Madness are transitional tracks that segue perfectly from one to the other. “Way The World Is” does not miss a note when it transfers the energy and prowess into “You Tear The World In Two.” A beautiful record for its execution, “You Tear The World In Two” is a direct link into the low-tuned but formulaic bass-heavy piece.
It feels loose on an instrumentalist standpoint, but the lyrics here are poetic and extend a velvet hand through the misted curtains. Describing, “Tear the world in two and choose a half. But look inside you, you know what you are.” With an instrumental that begins to add more gasoline to the already lit candle factory.
The energy from “You Tear The World In Two” slows and slides into “Sea Of Sound” where the guitars are less ferocious and more reminiscent of the sun coming over the water. The glistening ability is Pale Saints method of the madness. “Sea Of Sound” is the first real moment of showing any sense of a slowdown before the following track, “True Coming Dream” which jumps right back into the mosh pits.
The build-up and work of “True Coming Dream” is a ray of energy that instills power once again to the lungs. With the tension on the rise, Masters on guitar and Naysmith on vocals pair together like monsters of the track. In the two minutes and 30 seconds, “True Coming Dream” is painted vividly and has these splashes of light blue and pale pinks that burn over wax.
“Language Of Flowers” comes to be one of the final tracks of The Comforts of Madness saga where the ocean waves cascade over the audience. With each note that is struck through the speakers, Naysmith’s vocals pour and cement the production to be one made of loose and intimate play styles that borders more on beauty than the demise.
Sinking further and falling deeper, Pale Saints are a nice break away from the dangerous and more into letting emotion take the drive. The 41 minutes spent is less abrupt, and is a planned adventure into the setting sands.