Anyways, clipping. (yes, its spelled this pretentiously) is a west coast, Los Angeles based trio run off of the artistic input of Jonathan Snipes, William Hudson, and rapper Daveed Diggs. All of whom as solo artists dabbled in the art of noise and industrial music, and in the formation of clipping., have established a model for industrial, noise-hop music. After the release of the group's debut LP, Midcity, the group was signed to Sub Pop records. I'm sure with their increased notoriety that they have increased their fame and fortune, but in an interview with less than a year ago, the members of the group mentioned that they had to continue working their day jobs while making music, simply to provide for themselves. That does not in anyway speak towards the music they make, which is pretty kick ass, but that sucks. The thing with this particular sub-genre, is that its wildly polarizing. I've even been accused on multiple occasions of simply liking this shit in order to identify myself with a group of people. Yeah, people will say anything when they don't understand your musical preferences. The interesting thing about clipping., though, is that they do have a crossover appeal, which lies in Daveed Diggs. The instrumentation is wild, outlandish, and even disjointed at times, but unlike a Death Grips, clipping. has a traditional rapper. He may not be the most normal, but he can still connect with the mainstream audience with the way he raps. It is my personal hope that because of this, the masses will become more interested in clipping., and maybe... just maybe become more accustomed listening to things out of their comfort zone.
Like I said, this is clipping.'s sophomore effort following the 2013 release of Midcity, an album high on abrasiveness (gotta use this word somewhere when describing this type of music), and really developed a sound that I had never heard before. Midcity popped up somewhere on my year-end list last year, and in an effort to capitalize on their success, the group wasted little time in pumping out a new release for their slowly growing fan-base.
When it comes to a group so willing to stretch their boundaries, you never know what to expect. clipping. could release another album that simply builds off of the sounds that we heard on Midcity, or they could completely evolve into something else, simply to keep fans on their toes. As we have seen with mainstream experimental mogul like Kanye West, you never know what to expect with these releases. We could be met with a bona fide classic, or a pile of avant-garde trash. Either way, at least you can expect something new and fresh. Above all else, this shit is actually good. It's... well, just sit back and enjoy my review.
1. Intro
Almost identical to Midcity, CLPPNG opens up with a mostly A capella intro with Daveed Diggs rapping his ever loving ass off. It sounds like rapid fire slam poetry filled with expletives and ill ass bars. Diggs is spitting extremely fast, going in and out of flows, following almost no rhyme scheme to accompany the essential lack of instrumentation. He rhymes for a little over a minute until you get the point that this guy is dope, and it's time to sit the fuck down and pay attention to this album. After he has said his piece and wowed the audience along the way, Diggs sends off with the iconic (yeah, they may need to be a little more popular to have an "iconic" catchphrase, but I love exaggeration) catchphrase, "it's clipping., bitch", followed by an absolute explosion of industrial noise that smacks you straight the fuck in your face.
2. Body and Blood
The instrumental on this song is just about the most industrial thing you will ever hear. The static drums, loud noise, and distortion will mess you up if you are listening on shitty speakers. I strictly advise listening to this track on headphones or very good speakers, or it will sound like garbage, but that doesn't stop this song from being an absolute banger. If you listen to it without really listening to the lyrics, you will hear a lot of generic sexual terminology and innuendo, but if you pay attention even a little bit, you realize this song is about a twisted serial killer who takes in her victims by being really hot. She seduces her prey at the club, takes them home, and just when they are about to get lucky, she fucks them up. Despite everything I just said, the song is actually somewhat catchy and upbeat. I enjoy the track thoroughly, and while it doesn't absolutely wow me, it does a great job of appealing to the clipping. audience. I also urge you to search the Internet for the video to this track, but only if you have the balls. Shit is seriously messed up.
3. Work Work (ft. Cocc Pistol Cree)
This track was the lead single, and when listening to it, you can easily pick up on why that is. This song is catchy as fuck. The beat throughout is very minimalist, but still incorporates noise to set the tone. During the verses, there are actually no drums. A pretty sick bass-line picks up at the hook, but for the most part, the beat is strictly noise. Diggs' first verse is filled with wordplay and talks about hustling and drug dealing to earn a living, which is essentially the theme of the song. Following the verses is a very catchy hook that also centers around the idea of grinding for your money in any way possible. The natural consensus developed by everyone that's heard this song is that it's reminiscent of a DJ Mustard beat, so it makes sense that guest Cocc Pistol Cree popped up on his Ketchup mixtape from last year. The third verse courtesy of Diggs is my personal favorite on the track. It is playing the multiple scenarios that go into your head when a cop pulls you over. He goes on to mention that it doesn't matter because you are already dead, which can be received a few different ways. I personally see it as this person being dead inside because of the life he is living and it won't matter what happens with the cop. Either way, the song takes a dark turn near the end. After the hook plays out for the last time the beat drops and a sick, siren-like synthesizer plays, and it's just all sorts of dope. Nice!
4. Summertime (ft. King Tee)
This track has a relatively similar instrumental to the last song, except for the fact that this one has more consistent drums. The creativity of the use of industrial sounds on these tracks amazes me, but most importantly, I'm just glad to see that King Tee is still keeping himself busy. Tee is something of a west coast legend who, despite receiving little recognition for it, actually has a killer verse. He comes on the track with a sort of style and swagger about him that commands attention, and he puts forth what happens to be my favorite feature on the album. This song, much like the last, has a lot of crossover appeal, and while it is a little morbid for a party atmosphere, I could still imagine hearing this song on the radio, and not thinking it was incredibly out of place. A little bit of a dark message never hurt anyone, right?
5. Taking Off
Continuing with the theme of simple, yet extremely intriguing production, this song is composed of a simple bass line along with some overlaying drums that come with some static, siren like noises, and a side of fries. The theme of this is a more serious rendition of what has been heard throughout the album: providing for yourself by any means, and what people will do just to get money. It is a deep commentary on the street life as seen by Diggs, and above all else is very well executed. This is the first time on the album since the intro that we see at what speed and how well Diggs can spit when given the reigns on a track: “What is in the mind of a motherfucking killer when he chilling on the porch with his daughter in is lap? Peace.” He delivers all that as one breathless string of consonants, then pauses for a split-second to let the image sit in. Very impressive.
6. Tonight (ft. Gangsta Boo)
Oh boy. That's right, Three Six Mafia mainstay Gangsta Boo is indeed the feature on this track, and let's just say, it didn't necessarily work. Frankly, it didn't work at all. Her verse was worse than anyone could have feared, being unbearably simple, and agonizingly slow and drawn out. I can't imagine that these guys heard this verse and wanted to use it, but they felt they had to for the high profile feature. While her verse is shocking in how poor it is, it is only barely worse than Diggs' singing on the hook. There must be one guy who keeps going around telling rappers that they can sing, when they simply cannot, because they all seem to love belting it out on the occasional hook. This gravely singing is bad even by most standards, though, and simply should not be included on a professional song. With about a minute left there is a complete beat change and another verse from Daveed, but at that point you just want the song to be over. This is far and away the worst actual song on this album. Not a good idea whatsoever.
7. Dream
As you can see from the titles alone, the story is that the character went out partying in the last track, and this is now the dream after that night. One of the eeriest tracks you'll ever come across is made up of a faint drum line, along with a gong that rings occasionally, wind chimes, bird chirps, and snapping during the hook. The verses are performed by Diggs, but you can't really tell as he is using a very deep and monotonous voice to obviously portray a creepy tone that is executed very well. The hook is even more eerie as it is only whispered, with lines that mirror the first few bars of "Juicy" by Biggie. I don't quite understand what is going on in this track, but I do understand that it is meant to be the dreams of this character who is a street hustler. Very odd track, but it sort of works. It isn't a feel good track, or one that I'll listen to often for leisure, but it tells a story within the album and serves its purpose well.
8. Get Up (ft. Mariel Jacoda)
In the final chapter of this three song, mid-album story we have "Get Up", a fucking awesome song. Believe it or not, during the verses, the beat is solely made up of the sound of an alarm clock. That's right, a sound that millions of people dread every morning sounds amazing while Diggs absolutely spazzes for three verse in what is ultimately his best performance of the album, as he speaks on how, after a night of partying and dreaming, he has to wake up, and get back out on the streets because the street life waits for no one. With some terrific word play and rapid fire flows, Diggs is able to put on a show. Even given how amazing his verses are, the hook provided by the featured female vocalist is just as good. During the hook the alarm clock is combined with a synthesizer, making for a shockingly beautiful moment as Mariel Jacoda sings her heart out. If I haven't made it clear enough, this track is amazing. Definitely a highlight of the album, and despite being more so towards experimental, I think any fan of hip hop could appreciate this one.
9. Or Die (ft. Guce)
On this track, you essentially have a standard hip hop drum procession, but rather than your standard patterns, its a booming, industrial sounding, static drum effect that bangs your fucking eardrums in the most positive way possible. Daveed gives a fairly standard verse, but it is evident to me that the standout portion of this track is easily the hook. It is very catchy, and is the part of the song I'm which the message is most clearly displayed. The message being that your only options are getting money, or dying. Fairly cynical if you ask me, but hey, these guys may know something that I don't. Guce (pronounced "juice" because why the hell not) gives a forgettable verse, as its pretty damn clear that most of the features on this album were for recognition sake. Nearly every feature is a street rapper who has been established, and while I'm sure it looks good on paper, no one is looking for a fucking Guce feature in 2014.
10. Inside Out
The first few times I played this album, I probably couldn't have even told you this song was on the project. However, its apparently a grower. It sounds pretty goofy, but the beat is really creative and noisy, so I give it the nod of approval, and Diggs actually gives a nice hook and above average verses. I can't exactly explain why, but this song doesn't have that stand out in your face factor. Still, its pretty decent, so if you find yourself forgetting this track at first, don't be afraid to give it another try or seven.
11. Story 2
This is obviously the sequel to one of the best songs on Midcity simply titled "Story". I won't spoil any of the story for all of you listeners out there, but this yet again puts in full display that clipping. is more than just noisy instrumentals. Diggs tells a very vivid story and flows very well. I could imagine any of the genre's greatest story tellers performing this very song and still being impressed.
12. Dominoes
Despite the back half of this album having less star power and flash, it actually may be the higher quality half, and that would be because of songs like this. This song is terrifically performed in all aspects, including a much more traditional sounding (relatively speaking of course) instrumental. Diggs' flow is slower than usual, but the lyrics on this track are phenomenal. Every bit of the near six-minute track is memorable. From the story of the kids fighting told by Diggs, to the children choir singing on the hook, its good shit. Dare I say it, but this could very well be the best song on the entire tape. Not a dull moment on the track, and perhaps the most complete song.
13. Ends
The first thirteen seconds sound like a bunch of noises that are amounting to absolutely nothing, but then it somehow manages to segue perfectly into the beginning of Diggs' first verse. This song carries a lot of weight and sums up most of what this album has been talking about all along. The hook is once again terrific, as are all the verses, and this track is almost able to replicate the near perfection that was the last track. Not only is this track brilliant, but it also gives you a sense of completion. You feel the album ending in front of you as you are listening. The song plays on the idea that no one cares about the means anymore, and that we all just want results, regardless of what that may entail. Perfect closure.
14. Williams Mix (ft. Tom Erbe)
And then this bull shit happens. Despite having the most conclusive feeling of any track ever, clipping. just had to throw this at the end of their album. Why? Hell, I might enjoy my life a little more has this never happened (I have a propensity to exaggerate). What you have here is all of the tracks on this album jumbled up and slammed together in the most disorderly way possible and it comes out just sounding like nothing. And yes, I know its based on a John Cage composition. Its still ridiculous.
Rating: 4/5
clipping. improved upon their debut. I suppose I could understand fans of Midcity being disappointed in this release, but those people have to understand that this is the group developing and further perfecting their style. Its not as gritty and bluntly dark as their debut, and there's moments where they're obviously reaching for the mainstream audience that they'll never gain, but none of that compromises the quality of the music. Diggs has been able to grow and find himself as a rapper, which is great considering that he was already pretty damn good. The instrumentation was dialed down a bit, but I think this only showed the kind of range that clipping. has. CLPPNG, while obviously flawed, offers what I can guarantee to be the most creative rap album you'll hear all year, and I'll definitely continue to follow the crew, knowing that they will continue to develop their sound, seeing as they are still a fairly new group. I strongly urge a purchase for anyone who likes experimental hip hop, or even anyone who just likes music. Even if you have pre-conceived notions, its worth a fucking shot. After all, it's clipping. bitch.