It’s amusing to note that despite Clipse being a duo from Virginia's rap scene, their legacy can be broken down into three clear segments. The first part is their imperial phase, which began with their 2002 debut ‘Lord Willin’, produced by the Neptunes. Despite facing issues with their label, they maintained sharpness through the Re-Up Gang’s mixtape series ‘We Got It 4 Cheap’ – a period that felt electric and vibrant.
Next is the 2006 release ‘Hell Hath No Fury’: a chilling yet precise masterpiece crafted by Pharrell Williams, which received a rare perfect score from XXL Magazine and solidified their reputation as influential figures. Following this was the Re-Up Gang’s 2008 indie album, marking a subtle shift away from their distinct sound. Their 2009 effort, ‘Til the Casket Drops’, ventured into flashy, pop-rap territory, reflecting personal trauma and the growing incarceration of their contemporaries. Malice found faith while Push developed his solo style.
After a few standalone tracks, Clipse announced their comeback last year, though label disputes lingered before the anticipated reunion LP, ‘Let God Sort Em Out’. This time, however, their support had broadened, featuring collaborations with Carhartt, Denim Tears, and Billionaire Boys Club, appearances in high fashion on Louis Vuitton runways, and a KAWS-designed album cover.
While brand collaborations and high fashion can be appealing, the music itself must be solid to keep everything from falling apart. Fortunately, Clipse largely meets expectations. Their lyrics maintain a delicate balance, with one hand reaching back to the brilliance of ‘Hell Hath No Fury’ while the other explores themes of maturity, perspective, and loss since their split.
The sobering opening track, ‘The Birds Don’t Sing’, conveys more about their reunion than any press release ever could. Accompanied by the Voices of Fire choir and former GOOD Music artist John Legend, the somewhat awkward, theatrical beat is overshadowed by deep emotional impact as Push and Malice share the recurring loss of their parents.
Push delivers poignant lines about his son and mother: “Love you met Nige[l], hate that he won’t remember you,” while Malice concludes the track with a haunting memory of his father: “Your car was in the driveway, I knew you were home. By the third knock, the chill went through my bones.” This sense of maturity is consistent throughout, with Malice, in particular, incorporating parental reflections into tracks like ‘E.B.I.T.D.A.’. It's a heavy way to start the album, suggesting that the devastating loss of their parents catalyzed their creative reunion.
Where this album truly excels is in its collaborations. A highlight is ‘P.O.V.’, a track featuring Tyler, the Creator, which embodies the essence of classic Clipse; lively, fierce drums underpinning the trio’s verses. The album has strong contenders such as ‘Mike Tyson Blow to the Face’, ‘Chains & Whips’ featuring Kendrick Lamar, and ‘F.I.C.O.’ with Stove God Cooks. The clever use of a cappella space and boom-bap drums in ‘M.T.B.T.T.F.’, along with the lyrical depth in ‘Chains & Whips’ and grounded storytelling in ‘F.I.C.O.’, makes this trio not just some of Clipse’s best work, but also some of Pharrell’s finest production in years.
Additionally, the late-album pair ‘Let God Sort Em Out / Chandeliers’, featuring Nas, is a nice addition, though somewhat brief (as is much of the album). It leaves listeners questioning whether the short duration is meant to create anticipation for more or if additional verses, key changes, or features could have lent a more complete feeling to the record. There are a few weaker moments, particularly some of Pharrell’s hooks (‘All Things Considered’, ‘So Far Ahead’), but these minor issues are largely overshadowed by the chemistry between Push and Malice.
The pre-release tracks ‘So Be It’ and ‘Ace Trumpets’ fit seamlessly into the album’s overall flow, with ‘So Be It’ reimagining Saudi legend Talal Maddah’s 1970 song ‘Maza Akoulou’ into a haunting, expansive landscape of hip-hop lines. If Clipse were to describe this track, it might say: Nosferatu with nose candy, Coraline pedalling crack, or Cloudy with a chance of Coca-Cola.
Before ‘Lord Willin’, the Re-Up tapes, and their Grammy nomination, there was ‘Exclusive Audio Footage’, their 1999 Elektra Records debut that never truly came to light. Supported entirely by The Neptunes, their debut single ‘The Funeral’ served as a grim tribute to the duo’s challenges, sketching vivid images of street infamy.
We mention this now to illustrate that while Clipse may have been prematurely buried (both
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"When I was about three or four, I would play on small pianos and there are photos of me holding microphones. However, it was when I heard myself sing that..."
It's interesting how, despite being a duo, the legacy of Virginia rap legends Clipse can be segmented into three clear sections. Pusha T and Malice's