These are an unquestionably more personal collection of words, particularly when compared to Let Them Eat Chaos, yet they are also more opaque. Even when the beats enter to accompany Confucius’ rap halfway through, they don’t detract from the core because we are already engaged. These lyrics seem to look back at Kae’s process of coming to terms with their true self, and the album’s focus on freedom, acceptance, and confidence shows them coming out of the other side.

Tempest has a predilection for myth (in 2013, they released Brand New Ancients, a contemporary retelling of the tale of Tiresias), and their writing often argues for the importance of storytelling itself. But as Tempest examines the stop-and-go motions of being, it also feels like they are asking what it feels like to be alive, period. It is the first time they have leaned on so many influences, allowing themselves to put something out that isn’t tied as closely to ‘concept’ in the way that all of the other albums have been. As lyrics that focus on making the most of what you have today, a key Tempest tenet, the sounds of French horn, cornet, and tuba create an increasingly claustrophobic cacophony that puts me in mind of a dark room, couples holding hands at candlelit tables, men in fedoras, women in ball gowns. It’s a fascinating listen as a languid synth provides a compelling counterpoint to Tempest’s visceral rap.C.'s Grian Chatten, Lianne La Havas and Confucius MC, the album is out now via American Recordings / Republic Records and was mastered at Abbey Road by Christian Wright. This is Tempest’s show, but musicians who have been playing with them since they first began gigging provide little smatterings of drums, guitar, tuba, cornet, and french horn.

It’s a daily operation to increase your resilience, cultivate a deeper acceptance, let go of what’s chasing you and lean in to the pressures. Tempest’s work is at its most profound when the cadence and rhythms embody those of the spoken word. While on the majority of their previous releases Kae was the sole performer on most songs, across this latest work they don’t only bring in big name guests but they also let them have starring roles and take some of the key moments on the album.

The preceding track, Nothing To Prove, has the intensity and urgency of anything on Let Them Eat Chaos. We encounter the contributions of artists who I love and admire, guest vocalists and instrumentalists, and so we defeat the sense of isolation felt in the opening track with a sense of deeply connected community. Their second album, Let Them Eat Chaos will go down as one of the most original albums of this millennium. Being more honest with the world and my community about who I am and letting go of some heavy heavy shame, which is a glorious thing.

Starting from a place of isolation and dejection, Tempest ends with community-facing lightness and love. To mark the occasion, we spoke with the man behind the masters of Matthew Herbert, Eliza Rose and Crass about his most memorable . But once we get to the end of Grace, and the album, we loop back to the start – to ‘Kiss off the day with a mute mouth. Exit Strategy’ was produced by Bernard Butler and part-recorded here across Studio Three, the Gatehouse and Writing Room Three.The album’s longest track, Salt Coast and its shortest, Move, are perfect examples of songs where Tempest’s voice is suffocated by the music. Products shown, tagged or featured on YouTube by creators are sold by merchants and are subject to merchant's terms and conditions. The core of the record is that the pressures we face do not always have to be heavy burdens, but can be reframed; the more pressure a person is under, the greater the possibility for release.