The following is a note from William Hutson of Clipping.
track “Knees On The Ground” might benefit from an explanation. This is
the most unguarded I ever intend to be when writing about Clipping.
had happened was this: our very brief UK/Europe trip got called-off the
day before we were supposed to get on a plane to London. Since we
didn’t have any other plans, we met up in the studio with an idea to
crank out a new track. On our list of songs to finish was one particular
piece aimed directly at the club (or, at least, our twisted idea of
what clubs should play). But none of us were in the mood for it. Each of
us had spent the previous several days following the news of protests
in Ferguson, MO. It was the only thing on our minds. We couldn’t bring
ourselves to think about anything else, so we decided to direct our
fear, our revulsion, our heartbreak into a new track.
was that we’d defined our band — in interviews and to each other — as
decidedly-not-an-activist-project. Diggs’s lyrics have been criticized
for seeming apolitical, at least in comparison to what many listeners
(perhaps rightly) expect to hear from an ‘experimental’ rap group. I
have many times said (perhaps naïvely) that our politics lie in our
structures, in our formal engagement with the rap genre. We love its
conventions, its clichés, and we’re not above them. We see our
participation in rap as something resembling an old punk flyer — an
out-of-context collage of charged images with an fractured,
contradictory, multiple point-of-view. I hope that our more dedicated
listeners hear this and understand that we’re not interested in
spoon-feeding them a position. At the same time, I’ve always assumed
that they pretty much agree with us on most issues anyway. (We have yet
to meet the misogynist, homophobic, white supremacist Clipping fan with
an MBA and an NRA membership).
So what do we do when all we can
think about, all we can feel, is a profound injustice — yet another
young unarmed person of color is murdered by a police officer? How does a
band, which overtly rejects affect and the emotions, address something
that is, for its authors, a deeply felt, deeply affecting topic? Well,
we don’t entirely know. But the fact is: there’s more truth in Diggs’s
lyrics than we generally let on. “Inside Out” describes a drive-by
shooting in Oakland, “Chain” is about three stick-ups. They are
presented with a lot of detail and specificity (perhaps the result of
personal experience). But at the same time, they represent archetypal
scenarios within rap music. One trope we had yet to explore as Clipping
was the anti-police rap — the lineage of Public Enemy, NWA and Paris,
straight through The Coup, and all the way into the ‘stop snitching’
panic of the early 2000s. “Knees On The Ground” is a paradigmatic
white-cop-kills-an-unarmed-black-kid-and-gets-away-with-it tale — a
story that happens all the fucking time in the US. What we have learned —
from our first hand experience in Oakland in 2009, and from the media
coverage of Ferguson in 2014 — is that the second part of this story
involves a police response better suited to a war zone than to an
American city. Cops think they’re playing Call Of Duty when they’re
supposed to be part of a community. If Ferguson were in Iraq, Obama
would have sent in an airstrike already.
This is the least obtuse
Diggs’s lyrics will ever get. We’re embarrassed by the timeliness of
this track. We do not intend to capitalize on what is, undoubtedly, a
terrible tragedy. But journalists make think-pieces and we make songs.
Writers write what they know, and this is what we know right fucking
CLPPNG just came out yesterday to critical acclaim with ”Album of the Week” honors over at Stereogum. Today, the music site premiered the utterly NSFW music video for the grinding track, ”Body & Blood”. Head on over there to get on that wild ride, directed by Patrick Kennelly.
Today’s a very heavy release day for us here at Sub Pop HQ. We’ve got people hustling around the warehouse shipping and receiving, publicists on the horn (industry speak for phone) with press, and metadataists metadataing. Which is to say, it’s a wild scene around here, but one we’ve been preparing for.
First and foremost, clipping., the most disruptive and abrasive yet remarkably welcoming hip hop we’ve ever heard, are making their debut withthe nearly eponymous CLPPNG. It’s a collection of disorienting and challenging hip hop tracks that equate to a pretty perfect debut record. Listen to “Body & Blood” in the embedded player for example. Pick up CLPPNG here, or wherever fine records are sold.
clipping. are back with another track off of their out-of-leftfield, noize hip-hop Sub Pop debut, CLPPNG, out June 10th. The track, “Body and Blood”, is probably the more intense window into what is an at times immensely challenging and equally rewarding record for listeners. Press play to hear what I’m going on about.
Sub Pop noise mongers, clipping., just delivered their first music video for this record label for the song “Work Work”, and I have to say, we are APPALLED. It features copious amounts of violence and a plethora of swears, not to mention A TON of innuendo and refer references. FILTHY. If you’re into that sort of trash, then you’ll LOVE CLPPNG, the trio’s debut record, out June 10th on this filthy record label.
All customers who pre-order the LP version of CLPPNG
will receive the limited, “Loser Edition” of the album on white vinyl.
In addition, every pre-order placed for both the LP and CD versions of
the album will also receive a bonus 7” with 2 additional songs.
of these items are on a first come, first served basis and once they’re
gone, they’re gone. Order now to secure all of these limited-edition