Due to the striking prowess and rousing instincts of previous singles and their album, Antiquity, across the past two years alone, we find ourselves with an instinctive buzz when approaching a new offering from The Final Clause Of Tacitus before us. The release of the UK outfit’s new EP, Asinine Music for the Solemn and Staid, has unsurprisingly provoked the same intrigue and anticipation and maybe more than anything from them before left both bloated with pleasure.
Reading hailing, The Final Clause Of Tacitus has bred and evolved a sound which merges the voracious instincts of groove metal with the funk and anthemic uproar of rock. It is a proposition which persistently and somewhat understandably draws references to the likes of Red Hot Chilli Peppers and Rage Against The Machine but equally weaves its own individuality as familiarity and individual imagination collude. Attention and praise has increased as their music has grown and matured, leading the band to share stages with artists such as of (Hed) P.E, Electric 6, DJ Lethal, Senser, 808 State, Hacktivist, Skindred and Crazy Town which in turn has escalated their reputation and added more creative fuel for their own invention.
As Asinine Music for the Solemn and Staid confirms that the band’s sound is not boldly unique yet stands alone in its character and breath and indeed impact. The EP sees the band uncage their most aggressive and voracious incitement yet amidst their sound’s most feral and predatory character to date but without diluting or devouring the contagious grooving and funk energetic virulence which hungrily gets under the skin.
There is also certain anger to the release which was borne in a world in turmoil and lockdown last year, and it is swiftly apparent within opener Something’s Gonna Break. The track makes an unimposing entrance with its skittish lures beginning in the background but it is soon standing tall in bold view and inciting quick response as grooves and vocals devour the air. Those earlier mentioned references again incite comparisons but as previously, the band swiftly stamp down their own creative authority and enterprise whilst snarling at and manipulating the senses.
The outstanding start is potently backed by War Cry, a track featuring the drama wrung vocals of Georgi Valentine from Mother Vulture. It is a song which jabs and strikes at the listener whilst wrapping sonic vines around their senses, grooves which again prove easily addictive as too the rhythmic tempest unleashed, one with its own fertile contagion within the tracks cyclone of irritability and sound.
Not Today sees (Hed) P.E frontman Jahred Gomes guesting and maybe there is no real surprise that the song finds a breath and personality akin to the US outfit’s own invention. Yet it only goes to colour our favourite moment on the EP, The Final Clause Of Tacitus aligning that hue to their own animus of emotion, defiance and creativity which sees the track twist and turn with matching tetchiness.
A calmer but portentous air lures ears to next up All Figured Out, the song from its quickly uncaged primal eruption casting a mercurial landscape as seductive as it is debilitating as it is clamorous and hungrily catchy. Fascinating and unpredictable with every breath, it is yet another striking moment within the record to be followed by the last in the shape of latest single, I Can’t Talk to You.
From its initial seductive sway and inherently tempting groove, the track wormed under the skin courting ears with essences of again (Hed) P.E, as well as The Kennedy Soundtrack and Limp Bizkit but all the while sculpting its own individual sonic rapture of temptation and aggrieved fire.
Growing even more compelling by the listen, Asinine Music for the Solemn and Staid is our most striking and thrilling moment with The Final Clause Of Tacitus yet; simply the band’s finest moment to date.
Asinine Music for the Solemn and Staid is out now.
Pete RingMaster 13/05/2021
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