Clipse: Harbingers of the Apocalypse

‘My era sold dope, the next era used dope. Both eras were in error but each generation grows increasingly wicked.’ - Gene Thornton

The skeletal KAWS artwork that greets fiendish listeners of sublime coke-rap is emblematic of the musical work the two brothers and Pharrell showcase over 40 minutes. The cosmic production of the Neptunes is stripped of its ecstatic chords and supplanted by a formula reminiscent of Pharrell’s early noughties experiments. Here, the low end takes centre stage; the trunk-rattling 808s and throbbing drum programming soundtrack the brooding duo. 

'Ace Trumpets' sits somewhere around one of my favourite songs of the year, the minimalist production swings effortlessly between sombre passages and synth-laced bravado. The style of modern works such as 'Cash In Cash Out' and 'Brambleton' is further refined here. This greatly extends the trend of minimalism in hip-hop, which was notably highlighted by Philip Sherburne decades ago when he ironically spoke about 'Grindin’. Various highlights are found all up and down this project, whilst 'Chains & Whips' will garner most of the attention, 'So Be It', 'Mike Tyson Blow to The Face' and 'F.I.C.O.' amongst others are exceptional. Pusha T continues to evolve into a sinister kingpin as first shown on his standout guest verse on Bandana’s 'Palmolive' as well as on 'DAYTONA' and 'It’s Almost Dry'. Meanwhile, Malice’s return to secular music hints that ability is never lost at this level. The difference between the first releases and 'Let God Sort ‘Em Out', is stark. It is easy to assume that after the coke-filled parties and lavish lifestyle, the sobering reality is of betrayal, corroding morality and paranoia. It must be said that the brothers showcase this so effortlessly that it feels foolish to doubt the truth behind the entertainment. 

It’s hard not to get a bit theological with it considering the titles from this discography. With projects such as 'Lord Willin’ and 'Hell Hath No Fury', the Thornton brothers have long walked that precarious tightrope between unabashed worldly glorification and spiritual guilt. In the lead up to their fifth project, I revisited the duo’s most popular releases 'Lord Willin’ and 'Hell Hath No Fury' and was profoundly surprised by just how idiosyncratic the products were. A lot of drug rap is tonally pitched down, performances drenched in nocturnal palettes – it seems that whilst rarely expressed, the regret of this lifestyle subconsciously guides the creative direction. The first two Clipse projects were soundtracked by flamboyant Neptunes production. Bright textures, soulful samples and maximalist rhythms are all over those releases. If a drug dealer is meant to be an inconspicuous figure then the Clipse consciously contradicted this attitude with tales of the dazzlingly high hedonism that comes with this kind of lifestyle, the girls, the materialism and parties. They packaged and sold it well. The melodic euphoria of 'I’m Not You’s xylophones or 'Momma I’m So Sorry’s accordion is replaced by the atonal aspects of 'So Be It' and 'Ace Trumpets'.

The vibrant uniforms of the Nigo, Bape and Billionaire Boys Club days are now also upgraded to the muted textures of high luxury fashion. It seems that even sharp-tongue rappers fall victim to the hardening of the drug game, the exuberance and exoticism of material things and status that were all over their first efforts have now been discarded as simply trinkets and all that’s left is power (Uncle said, “N*gga, you must be sick”/All you talk about is getting rich"). It’s as if the brothers are floating somewhere between Avon Barksdale and Stringer Bell. 

Always dropping at some significant point in time, Clipse’s track record can interestingly be linked with important shifts in the American canon. For instance, 2002’s 'Lord Willin’ was released during the U.S.’ ill-fated ‘War on Terror’, whilst 2006’s 'Hell Hath No Fury' saw the continuation of the Iraq War alongside public dissatisfaction with the Bush Administration’s handling of the war and Hurricane Katrina leading to Democrats regaining control of Congress. In 2008 ('Re-Up Gang The Saga Continues') and 2009 ('Til The Casket Drops'), the United States was rocked by the overarching influence of the global financial crisis which found its origins in the collapse of the U.S housing market. Now what version of the United States of America does 'Let God Sort ‘Em Out' act find before it? A state that is more surreal than anything we’ve witnessed before, eagerly heading towards a far-right reality where the violations of its citizens can be easily dismissed through artificially-generated content, tightly rehearsed scripts and a gluttonous form of imperialism that will eventually devour itself taking the rest of the world with it.

Biblically, 'Conquest' (White back to back Rolls at my gates/White slavemaster souls in my safe/White python Manolo is the taste), 'War' (My shooter turn you inside out), 'Famine' (the Jesse Jackson sample on Inglorious Bastards) and Death (My circle split up the pie, that's long division/When Jada was asking "Why?"/I saw the vision/My homies that didn't die was all in prison/Visits behind the glass, my mirror image) are the Four Horsemen of the Apocalypse and symbolise the trials and tribulations before the end of times. I’d suggest two lesser precursory heralds, Pusha T representing arrogance (I buy bitches/you buy ‘em sections/you buy watches, I buy collections) and Malice representing violence (Never leaving home without my piece like I’m Mahatma). Whilst these are two recognisable facets of modern hip-hop, they could only really come from such a country that cyclically faces the fruits of its actions.

Jacques Attali mentioned around 50 years ago music’s potential to predict social change before politics and maybe this 2025 release further accentuates that, possibly an indicator of America’s fate. The latest Clipse effort showcases both the behemoth-like tower of success and the long shadow it casts. 

‘Just to think I built a rap career off an oz/I'm watchin' new niggas rap just to O.D/If I didn't give you both sides, I wouldn't be me’ - Malice