That dry guitar pattern is already doing the song's main work: small links, steady steps, no hurry to open up.

The voices come in close to the guitar, more braided into the pattern than placed on top of it.

"Damn your love, damn your lies" lands hard because the groove stays so even underneath it.

Now the chain is named, and the voices make "never break" feel like a promise and a warning at once.

On the return, "Down comes the night" darkens the same narrow lane instead of changing the pace.

The repeated "if you don't love me now" keeps circling back, and the band keeps it bound to that short, steady drive.

The singing has given the instruments the center, and the song feels more concentrated without needing a big boundary.

That low bass line steps forward and turns the linked pattern into something bodily.

The brighter guitar cuts across the low line now, with the drums locked into the drive.

When the voices return with "Chain keep us together," the instrumental push is already carrying the idea for them.

The last chain line fades with the motion still connected, receding rather than breaking off.