Sub Pop – Extraordinary Nobodies

Collectors Corner: clipping. – CLPPNG (Standard CD Release)

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Welcome to the newly revamped Collectors Corner. We’re going to be transitioning from speaking about multiple albums at a time, to a more in depth look at unique individual releases. A bit of discussion of some of our personal favorites from our collections. I’m a big fan of creative packaging when it comes to albums. In an era where digital is becoming the norm, an act going the extra mile with design can be the difference maker when it comes to putting out the extra cash for a physical copy. It can be particularly attention grabbing when it’s an unconventional CD release. CD can be a pretty boring piece of media at face value. Standard jewel cases feel incredibly sterile; even digipaks can seem uninspired, regardless of the fact that they tend to be better looking than plastic casing.

Today we will be having a look at one of these extra cool albums, clipping.’s 2014 record CLPPNG. Released on Sub Pop Recordings, catalogue number SP1071, in compact disc format.

When I ordered my copy of this record, I had very little idea of what to expect. It was around the time I had first started my music collection, and all I knew was that I dug the album. When the parcel came in the mail and I finally got my hands on it I could not have been more pleasantly surprised. Upon opening the tri-fold outer casing, you’re greeted with very creatively edited pictures of all three members of the group in a very pleasing black and white. The print quality is high, leaving all of the artwork looking well defined and clear. The cardboard itself is incredibly thick and has a slick finish. It feels quite durable, and the corners don’t seem to be quite as prone to breaking down as you might expect from a digipak. Overall, I am a fan of CLPPNG’s outer package. It’s not a groundbreaking design by any means, but it’s cleanly put together and tastefully minimalistic. This creates a kind of contrast with clipping.’s noisy and chaotic music that I thought was quite clever.

That aside, there are some internals to discuss as well. The two outer segments of the tri-fold digipak are hollow and have some goodies to look at. One contains the credits booklet, and the other contains the disc itself.

clipping2 — A look at the internals of the packaging.

The credits booklet was a necessary addition, but it is not overly substantial. It contains song names and additional credits that aren’t listed on the digipak tracklist. I would have liked to see a lyric booklet, or possibly some more photos of the group in a style similar to those in the tri-fold; however, the rest of the packaging is relatively minimalistic and this does fit that style. It felt more like a reference sheet, but it still looks really nice; moreover, there are some interesting tidbits as far as minor vocal credits that will appease the super-fan curious about all details of any given song.

The CD is probably the most interesting part of the album packaging in my opinion. The artwork on the disc is just a minor reworking of the album cover, but the real showstopper is how it is stored inside the digipak. Rather than clicking into a plastic holder or just slipping inside the case, the disc is wrapped in a paper dust cover very reminiscent of those you would find in a vinyl release. This protective sleeve even has a bit of a design on it that pairs up nicely with the album artwork. It’s such a small little thing, but it turns a cool tri-fold digipak into something special. Given my own personal preference for vinyl (as well as its resurgence in recent years), it just felt really awesome to open up a CD that takes influence from that style of packaging. Vinyl is expensive, and having a more affordable option such as this offering part of the same tactile experience is fantastic.

As far as sound quality goes, it’s a CD so there aren’t really any surprises. CD doesn’t tend to have the variability in terms of sound quality compared to vinyl pressings, and CLPPNG is no exception to that. It sounds great, but it offers no benefit when compared to the digital version of the album (particularly if you have the album in a 320kbps mp3 or lossless format). This release isn’t a must for audiophiles, and lends itself much more to those who simply love collecting physical music.

Ultimately, the CD version of CLPPNG is well worth buying if you’re a fan of the release. I would have personally preferred the vinyl, but I would be lying if I said this wasn’t unique. The assembly and design of the packaging are both superb, well above the average I would hold against compact disc. Though I do have a few deluxe editions and short run releases from other artists that I like more, this is probably one of my most cherished standard versions of an album in this format that I own. Time and time again I find myself smiling when I open up the digipak to give the record a playthrough. There’s just something about the minor details that make CLPPNG feel like something special. I recommend it fully for the avid music collector.

Album Review: clipping. – Splendor & Misery

by Dustin

8.5/10

It definitely seems as if we’ve written about clipping. a lot, but they’re one of the most active and unique rap groups out current. Who can blame us? Anyway…

To say that Daveed Diggs is popular right now would be an understatement. Fortunately, for fans of the Los Angeles based experimental rap trio clipping., he’s not abandoned his work in the world of weird. With an EP (Wriggle) already under their belt for the year, clipping. is back again with a full length followup to 2014’s CLPPNG. Released under Sub Pop Records and popular experimental outfit Deathbomb Arc, Splendor & Misery looks to keep clipping.’s hot-streak of releases at full steam.

With Splendor & Misery, clipping. took a step in a different direction from previous releases. The album follows the story of the sole survivor of an uprising, his life on an interstellar transport ship, and his relationship with the on-board computer. The concept is unique, and provided Digg’s the opportunity to flex his storytelling ability at every turn. He flawlessly maneuvers over the wild production, proving time and time again that he is one of the more versatile emcees in hip-hop. Tracks like “Baby Don’t Sleep” are beautifully unnerving, and it big part of this is Daveed’s vocal control and delivery. All in all, a wonderful vocal performance throughout the entirety of Splendor & Misery.

No home, you’ve been there,
Clearly off safety,
No destination,
No time for waiting,
Saviors are fiction,
Memories fading,
like ghosts, ghosts, go.
(Baby Don’t Sleep)

The production is basically what is to be expected from a clipping. album. It’s abrasive, loud, and fuzzy. The main difference on Splendor & Misery is that the instrumentals tend to be more spaced out than a lot of their previous work. Given the concept of the album, this is completely understandable and sets a well defined mood behind Deveed’s vocals. Atmosphere is the main strength of the production on this album. Though it might not necessarily carry that touch of traditional hip-hop the group is known for, the instrumentation is well execute. Hudson and Snipes rarely disappoint.

Though the album is a fantastic piece of art-rap, Splendor & Misery does have one minor flaw. There was a single moment which did not feel as though it fit the overall sound of the record. “Story 5” . Coming off a long run of incredibly cohesive work, the acapella felt very out of place. Unlike the previous “story” tracks on clipping. releases, it was not a standout track; regardless, It is still a pleasant listen and quite interesting, but in the grander picture of Splendor & Misery it was a jarring shift in sound.

Listeners who go into Splendor & Misery expecting the heavy hitting blend of conventional rap and noise may be in for a bit of a shock. This album is definitely a departure from the norm for clipping. as a group. Splendor & Misery should be approached as a conceptual art album, and not put in the same category as their previous works. Fortunately, for those who find themselves missing the sounds clipping. played with on previous releases the EP from earlier this year is jam packed with heavy, easier to digest songs.

This ain’t healthy to be held to blame,
Once you help me, now you abandon me,
What you’re tellin’ me by not tellin’ me?,
Anything, anything,
I’d give anything if you’d say my name,
Don’t you play with me, it’s an emergency.
(Break the Glass)

Don’t discredit Splendor & Misery for that reason, however. This album seems to be the moment that clipping. really discovered who they are as artists. From a conceptual standpoint this is the groups strongest effort. It was an absolute treat to see them tapping into some hidden potential. They took a risk with a release that is unconventional even for clipping., and it paid off with a solid final product.

Album Review: clipping. – Wriggle

by Dustin

wriggle

7.25/10

You might assume that involvement with the critically acclaimed Hamilton would keep Tony Award winning actor and rapper Daveed Diggs from being involved with clipping for the present. Fortunately, assuming that would be completely incorrect! Daveed Diggs, William Hutson, and Jonathan Snipes joined forces once again to craft Wriggle, a six track extended play follow up to 2014’s CLPPNG.

Strap yourself in…

As one would expect with a clipping. project, Wriggle is abrasive. Though the instrumentals feel less noise heavy than their last full length projects, it’s significantly darker in tone than CLPPNG. Wriggle at times sounds absolutely evil, yet it has some of the groups most accessible work. Hutson and Snipes did an excellent job at setting up the atmosphere of the EP, creating a tightly cohesive twenty minutes of unnervingly addictive and angry instrumentals.

Look at all the folk runnin’, marathon,
Like they ain’t got baggage, carry-ons,
Killin’ is the best medicine, diagnosis,
Got death on his breath, halitosis.
(Shooter)

Diggs comes in on this project as sharp as ever. His development as a rapper shines on the tracks “Shooter” and “Wriggle”. As usual, he flawlessly flows atop of the harsh and dense instrumentation. At times his furious rapid fire delivery was on full display, particularly on the aforementioned title track “Wriggle”. His more poetic writing style took a bit of a backseat here (aside from on the track “Our Time”), but it didn’t hold his performance back. There’s not much else to analyze about his performance on Wriggle, aside from the fact that it is consistently very good.

Rarely does Daveed Diggs falter while working with clipping., and that holds true on this project.

She stops by the window of the Walgreens,
Her mascara a mess of a mask,
Gonna pull out a tissue but instead pulls out a phone for a text,
And the flask rattles round in the purse,
A reminder that medicine is already there for the taking,
And the snap when she puts the cap back,
She’s convinced is the sound of her heart breaking.
(Our Time)

Wriggle also boasted an impressive list of features for a short project. Those familiar with Deathbomb Arc affiliated artists will be excited to see another Signor Benedick the Moor collaboration (along with Antwon) on the track “Back Up”. Cakes da Killa, Nailah Middleton, and Maxi Wild also provided their efforts to the tape. With Wriggle clocking in at a modest twenty minutes in length, there was the potential for a poor feature to stand out; however, every artist brought something worthwhile.

As a side note, Cakes da Killa’s “Hot Fuck No Love” appearance may be one of the most sexually graphic verses since Gangsta Boo rapped on Run the Jewels’ song “Love Again”. It fit absolutely brilliantly on the song for this very reason.

The only real downside to Wriggle is that it is short. This is completely reasonable though, as clipping. announced a full length album to come later this year via Sub Pop and Deathbomb Arc. Wriggle serves to hold fans over, and it does that job well. The twenty minutes of gritty, angry, hyper-sexual, and violent lyrics offers up plenty of content to digest in the meantime.

With that in mind, if you approach this expecting something overly substantial you might be disappointed. As a collection of songs leading up to an album release though, clipping. has remained as interesting as ever.

Artist of the Month: clipping.

by Dustin

clppng

At one point in the late months of 2014 someone linked me to clipping.’s release from a year earlier, midcity. One thing lead to another and… Well, I ended up binge listening to every scrap of material the hip-hop trio could offer. What I learned swiftly is that clipping. really isn’t your usual rap act even though the lyrical subject matter can seem familiar. In fact, they probably couldn’t be further from the norm.

If you’ve heard a single clipping. song in your life then you will know exactly what I mean. Let’s start with the production. That sexy, sexy production. William Hutson and Jonathan Snipes create some of the most abrasive (in all the right ways) and noisy instrumentals I’ve ever heard, yet they remain pleasing to the ears; moreover, I find their production to be incredibly atmospheric. My favorite example of this is the song Story 2. Though Daveed Diggs lyrics are rich with story-telling goodness, Hutson and Snipes’ production turn the song into a beautifully anxious and emotionally draining listening experience.

Seriously, did you just listen to that song? If you have to take a moment to let your heart rate come back down I wouldn’t blame you.

I should probably talk about Daveed Diggs now that I’ve mentioned him. Fun fact, he’s recently won a Grammy for some of his musical theatre work. Talented guy, and he’s also a pretty fantastic rapper. I would say that his greatest strength is his ability to lay thick descriptions in his writing effortlessly. As I mentioned earlier, Story 2 does showcase this, but it’s a pretty standard part of Diggs’ style. Take for instance the horrorcore flavored track from CLPPNG, Body & Blood (note: the video I’ve just linked to is most definitely not safe for work, you have been warned). He verbally paints a picture of the murderous female lead’s physical appearance and behaviors without forcing anything into the verse. It’s just lovely.

Well, as lovely as you can get when talking about a cannibalistic female serial killer, but that’s a discussion for another day.

Another thing about clipping. that I respect is their versatility within their own sound. On one hand, they’re masters of the ultra-abrasive tracks that are perhaps not so accessible. Intro is one of these songs. It’s loud, and it wants to permanently damage your eardrums to the point that you develop tinnitus (I say this with love, the sound is great). On the other hand, clipping. has put out songs like Summertime which are ridiculously smooth given the production style.

As a side, if you just listened to Summertime and don’t want to be cruising around in August with your windows down, I don’t know what to say. I know the subject matter isn’t happy, but you can still leave if you don’t agree with me. Seriously, there’s nothing more for you here because we will never agree on anything.

Just kidding I love you.

Allow me to issue a personal challenge to anyone who reads this article: listen to a clipping. project in full. I expect that the sound wont click with every single person that checks out their music, and that’s certainly okay. For those who end up enjoying the sound though (such as myself), you’ll find yourself pleasantly addicted to one of the most unique acts currently in hip-hop.

Here, listen to guns.up. Don’t even try to figure out what’s happening, just let it hit you. Just accept it.