Showing posts with label Clipping. Show all posts
Showing posts with label Clipping. Show all posts

Wednesday 3 August 2022

Clipping "CLBBNG" (2022)

Still one to keep an eye on, even remixes of Clipping classics set for the club scene were a curiosity. The 90s sounds of Dance, House, Acid and even a soft sniff Big Beat make sturdy foundations for modern aesthetics. Producer Jonathan Snipes has made great of the source material. I would not of guessed the finessed story raps of Daveed Diggs could suit this mold. Kicking off with Nothing Is Safe, the soft synth tunes and shuffling percussion vibes well with his raps. Its second of four, Drop Low, follows along as an instrumental alternative take of the first track.

Things get interesting on Get Mine, kicking off the unforgettable alarm clock, its obnoxious grate is cut up and rearranged with groove alongside the percussion and Acid synth leads. Its counterweight of chopped up effeminate vocals go back and forth, finding interesting overlaps and a reference to Cypress Hill along the way. It would of been nice to hear more raps in the project. The final track samples the "drop that game on them" insistently, as dirty baselines rumble and pivot with bright piano chords and cheery child choir singing among an arsenal of animated sound effects.

As volume one of hopefully more, hearing this style meld with Digg's raps would be a treat. This installment offers just a glimpse of that, the rest of the material lays more on the shoulders of Snipes's own creativity. He is class at what he does but that middle ground could be better explored. There is clearly an interesting chemistry.

Rating: 4/10

Tuesday 11 May 2021

Clipping "Visions Of Bodies Being Burned" (2020)

 

Its album number four by Clipping, an experimental Hip Hop trio doing remarkable things with their mashing up of Industrial and Noise with Horrorcore Rap and spoken rhymed monologues. So far I've developed a great appreciation for the artistry and craft but lacked an emotional connection. The same is true again with another fifty two minutes that seem to emphasize the same response from me. There is a difference this outing though, more of what I connect with. That's mostly a banging beat to elevate the obscurity of these minimalist noisescapes that house the rhymes.

Clipping's unsettling and grim take on urban life and crime has its apt tone again. Either expressed through rhyme or Industrial dissonance, Say The Name brings it to current events with a gripping power to address the death of George Floyd. The most notable track however is found in the lurching paranoia of Check The Lock. The John Carpenter-esque melodies and haunting bells are an illuminating compliment to the click, clack and rattling of sparse and distant industrious world building noises.

Alongside the lyrical talent of Daveed Diggs, who's sharp as a blade with his despairing narratives, a host of features fall short of adding something memorable to the mix. I was delighted to see the inclusion of Ho99o9 but even their shout raps felt at odds with the abrasive instrumental below the pair. Beyond these points of remark, much of what I've written about Clipping before remains true, its mostly a jarring experience of conflicting instrumentation that paints physical discomfort.

 Its best exemplified by slabs of white noise between tracks and the maddening Eaten Alive, its loose percussive performance seems perfectly dialed up to maximum confusion as its dislocated pace grows with the clattering of kitchen utensils. When Diggs drops out we are treated to a couple minutes of completely unhinged sound. Its a novelty, one this band are capable of channeling into convention with thumping base and a sensible kick snare groove but it too is sparing on this outing, with much of the record being chalked into that particular confrontational space again.

Rating: 6/10

Monday 4 January 2021

Clipping "There Existed An Addiction To Blood" (2019)

 
I'm struggling, yet to form a strong bond but on this outing I very much hear a conceptual angle playing out in the form of deconstruction. The picking apart of ideas, tropes and normalites become apparent on a handful of tracks that make up this seventy minute meaty slug of cold artistry. Experimental Hip Hop trio Clipping have been on my radar for a while but I've found myself unable to connect with the critical praise Ive seen heaped upon them. I have however enjoyed the challenge and appreciate the immense talent of rapper Daveed Diggs and their Avant-Garde production style, which raised eyebrows on their debut album CLPPNG, featuring a rigid yet rapid rap riffling off over the grating sound of an alarm clock.

There Existed An Addiction To Blood is the groups third, including a bunch of features which mostly emphasize what seems most obvious to me. The challenging nature of hearing highly involved lyrics over ambience and noise makes much of Diggs raps a harrowing and dark narrative to follow but his guests seem to line up with a strong through line. Rattling off typical Gangster Rap and club hooks over menacing abrasive noise and unnerving screams, Diggs flips the perceived glorification on its head. Many themes common to the gang and club music get deconstructed as both verses and juxtaposed hooks get sung in contrast to the norm. This is where the instrumentals shine, the comfort and tunefulness is voided and replaced by uncomfortable, grating hashes of Industrial and Noise. Its tone molding that paints a picture of the uncomfortable reality behind the topics and narratives shared.

This artistic stride only occurs in fractures for me, between it detours of interlude ambience and crushing noise distortion simply drone on. There is also a fair bit of convention where kick and snare snap into place to form more digestible songs, ironically in this convention they tend to loose a spark. It tends to take place when a guest steps on the beat to give the record some relief between the challenging darkness. Ultimately, the moments of genius play out not quite to my taste and I again appreciate what Clipping do but find myself struggling to create a clear picture of the record with all the chaos going on. No doubt though I will continue to follow this act and see where they go with their unique and crafty music.

Rating: 5/10

Thursday 31 December 2020

My Top 10 Music Discoverys In 2020

 
The one thing you can count on is music! Whatever is happening in the world there never seems to be a shortage of good records, new and old. Each year I aim to discover new artists and each year I seem to reflect that I should of done more. What is becoming more prevalent here on the blog is "rediscovering" old artists, going back over there catalogs and immersing myself in music enjoyed many moons ago, often finding songs that slipped between the cracks and getting a richer sense of the musicians behind it all. That will continue this year no doubt and I've included one in the list again!

(10) Bolt Thrower

I believe it was a cover of a Bolt Thrower song that lured me onto this British Death Metal outfit. I'd heard of them plenty over the years and checking them out I loved the mid-tempo crushing and subtle sense of groove. Straight forward songs that grab you with a mighty aesthetic that steamrolls its way forward. I will throw another record of theirs on the playlist for the coming year!
 
(9) Malcolm Horne
 
Warm bright and jazzy, these Jazz Hop beats and there fusion with synth tones make for inviting music. Whats also interesting is finding him through a different medium livestreaming on Twitch. Its not the normal way I find new music but anyway Is a good way and I hear a lot of potential in the best songs on the debut record. One to keep an eye on for more music in the future!
 
(8) Clipping
Unfortunately I can't revel in the praise others have thrown on this unique group. Having enjoyed their catalog now, Ive got a good sense of what they are about. Its a different experience, one that doesn't quite click with me but undoubtedly I will follow them closely in the future, if not for intriguing music but hopefully something will snap into place and I can enjoy them on another level.

(7) The Crystal Method
Its only the one record so far but their debut Vegas instantly snapped into place with that 90s feel of Electronica and Big Beat. Its stuck with me as a record for a particular mood and can put on and fall into. Will throw another onto next years playlist.

(6) Backxwash
Already in My Top Albums Of 2020 list, Backxwash makes it to this one too for having a highly competent and interesting flow. Given how stylistically directed this project was, I can't help but feel their talents with rapping can go beyond it. As I often say, one to follow and keep an eye on for whats next.

(5) Cult Of The Damned
A random stumble on Youtube and I was immediately hooked! I must admit I'm not sure this Rap collective have the lasting power but their flavor is spicy and exciting. I've been binging them a lot and it looks like new material is on the horizon for 2021.

(4) Old Sorcery
If ever Dungeon Synth feels explored in and out, something comes along to shake things up. Not only does Old Sorcery infuse some fantastical old school synth ideas but in the process crafts some really wonderful songs. The latest turn into Black Metal doesn't yield the same excitement for me so I am hoping for a return to roots with the next project so to speak.

(3) Bathory

Of all the nostalgic dives into music from my youth, Bathory has been the best of them all. Not only did I get a fuller picture of what I already loved but found a bunch of new gems and got a real sense of the artist and their journey through some tepid times in the 90s. Although a career cut tragically short, it ended on a high with the Nordland records I had barely touched back when I discovered this massively influential artist in the world of dark and extreme music.

(2) Ocean Grove

They have my album of the year but were also a fun discovery to dive into their debut record an EPs. I actually found them right around the release of this sophomore record. Initially a rather run of the mill Metalcore outfit, their jumpy evolution seems to have blossomed into a beastly brew of sunny energy just fit for my tastes. I'm left itching for more.

(1) Grimes
 I'd heard of Grimes quite some time ago and only this year got around to her music. Art Angels sucked me in and I absolutely adore its vibes. Alongside Flip Phone Fantasy its been my must spun record of the year. Her voice is a wonder and the playful vibes are uplifting and warming. Her earlier catalog is more experimental, less charming but fun. With Miss Anthropocene she dipped toes into a darker tone in places. Not quite as killer but I hope she can hit her stride again in the future.

Thursday 5 November 2020

Clipping "Splendor & Misery" (2016)

 
Last outing, their debut CLPNG, I found myself at odds with the swift articulation of Daveed Diggs and his Avant-Guard instrumental backing. Rapping to the sound of an alarm clock is certainly different but for all their merits and experiments, not a lot of the music clicked emotionally, despite the impressive lyricism. On the groups second, Splendor & Misery, the inventive approach to sound design seems aptly steered towards atmosphere and electronic industrial details that reinforce the emergent theme set down from the very opening.

Fuzzes, drones, deep rumbling bases and ambiguous swells of sound among the buzzing of electricity gives one the sense of interstellar travel marked by the mention of a ship in the opening verse, which hurls words rapidly from the perspective of a mothership observing a cargo ship. Its puzzling and thought provoking but following this narrative feels like a tangle of observation and emotion that becomes a blur in trying to understand the meaning of this tale from spaces cold abyss. Its like a puzzle, one I couldn't quite get my head around.

From its cold mechanical bleeps and bloops churning over like an 80s computer, radio static injects and transitions to bluesy music, a choral of burdensome vocals etched with a great pain sing their sorrows. Although these occurrences are brief, they add a further complexity to this mysterious story. Rapping over the sounds of old printer technology, True Believer brings about tension with convention, driving a regular percussive groove and uniting these contrasts for a brief moment. More convention arises again on Air em Out, a party track vibe resonates from Daveed's flow with minimal instrumental reinforcement.

Whats remarkable on this outing is how well the lack of convention works. A relatable anchor is unnecessary as the theme comes together cohesively. The opening raps are entrancing, a rapid mechanical monotone expression. As the album progresses I seem to loose sense of the narrative but there is no lack of appreciation for all remarkable that follows. Much like on their debut I find myself in great appreciation of the art but not finding a strong emotional bond with it. I will continue with this trio though, their music is deeply intriguing and this spacey outing is a big step up!

Rating: 6/10

Tuesday 10 March 2020

Clipping "CLPPNG" (2014)


Now here is a remarkable group that may draw unfair comparisons to Death Grips. Also an Experimental, Industrial Hip Hop trio the link might seem strong at first glance but the reality is Clipping are a rather different beast. Breaking the music down to its two core components, a chemistry exists unlike anything Ive heard before but I can't say it does it for me around the clock. I can however appreciate the artistry and skill on display. The music however, tends to shy from cheap tricks, groove and flash but keeps itself closely guarded by an unforgiving, cold presence.

The instrumentals are something to be adjusted too. Often minimalist and sparse, its atmospheres are birthed through textural snippets and samples that stray away from melody and rhythm. Cold mechanical sounds, sirens, noise and distortion loosely cling percussion that is barely present. Many of the songs reside in a dystopian, life drained state, barely growing or evolving from its initial inception while Daveed Diggs wilds off on the microphone. Get Up is literally two minutes of rapping to alarm clock before anything musically happens. Its conceptual, clever and jarring. I can't help but feel the goal is to paint an un-glorified picture of the subject matter.

Diggs is a phenomenal talent. Precisely enunciated, daringly swift and churning out the words at a dizzying pace his crisp and clear voicing is entrancing. With a lenience towards rhyming, his cadence cruises over multiple bars before looping back round to a rhyme of groove in the delivery of his words. Quite often he musters a dizzying momentum, blasting through very competently articulated story telling. Following his words can be intense to keep up and immerse in the vivid nature of his words. It borders with something akin to spoken word at times but the pacing and glue to the instrumental is firmly Rap, along with the themes of course.

Together they form a bold statement. This album plays through its themes of street and club life with an unforgiving coldness brought to life through its instrumentals. Its remarkable but the lack of relief and fun makes it quite a heavy and burdensome listen. Its more of a remarkable spectacle than something to throw on and jive too. Its only on Body & Blood that a semblance of bounce and groove is exploited. Its also one of the darkest atmospheres the album offers. I've found it hard to enjoy this on an emotional level but I can't flaw its artistry, very unique and focused, especially the story raps!

Favorite Tracks: Body & Blood, Story 2
Rating: 5/10