Last night, Clipping dropped these dizzying visuals for new track “Baby Don’t Sleep” and details of their new full-length Splendor & Misery, a Sci-Fi/dystopian concept album due out September 9th on Sub Pop/Deathbomb Arc.
Clipping are producers Jonathan Snipes and William Hutson, along with rapper/lyricist Daveed Diggs. [Yes THAT Daveed Diggs: Originator of the roles of the Marquis de Lafayette and Thomas Jefferson in acclaimed Broadway musical Hamilton AND winner of the 2016Tony Award for Best Featured Actor in a Musical.]
“Baby Don’t Sleep” is Clipping’s collaboration with multi-disciplinary artist Cristopher Cichocki. The new video is an electrified vortex of visual art that jolts into the core of the group’s commanding noise-rap and musique concrete aesthetics. Captured within the industrial bellies of New York and Los Angeles, this meticulously detailed work is comprised from Cichocki’s visual experiments with interference static, oscilloscopic wavelengths, and flicker-frame animation.
Splendor & Misery is an Afrofuturist, dystopian concept album that follows the sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him. Thinking he is alone and lost in space, the character discovers music in the ship’s shuddering hull and chirping instrument panels. William and Jonathan’s tracks draw an imaginary sonic map of the ship’s decks, hallways, and quarters, while Daveed’s lyrics ride the rhythms produced by its engines and machinery. In a reversal of H.P. Lovecraft’s concept of cosmic insignificance, the character finds relief in learning that humanity is of no consequence to the vast, uncaring universe. It turns out, pulling the rug out from under anthropocentrism is only horrifying to those who thought they were the center of everything to begin with. Ultimately, The character decides to pilot his ship into the unknown—and possibly into oblivion—instead of continuing on to worlds whose systems of governance and economy have violently oppressed him.
The album is led by the highlights “Baby Don’t Sleep,” “A Better Place,” and “Air ‘Em Out,” was produced by the band, and mixed by Steve Kaplan in Los Angeles. The announcement of said album comes hot on the heels of the group’s just released Wriggle EP [see the GIFtastic title track video right over here].
Splendor & Misery will be available worldwide on CD/LP/DL/CASS, and is now up for preorder from Sub Pop and Deathbomb Arc. Preorders through Sub Pop Mega Mart and independent retailers near you will receive the Loser edition on crystal clear vinyl (while supplies last).
Clipping’s current tour schedule in support of Wriggle and Splendor & Misery includes: August 4th in Seattle at Neumos (with Cakes Da Killa and Porter Ray); August 19th in Los Angeles for the Perpetual Dawn Anniversary; A hometown release show on September 8th in Los Angeles at Highways Performance Space* (with Busdriver and Pedestrian Deposit); And September 11th at the San Francisco Electronic Music Festival.
*The September 8th show is presented by Highways Performance Space, Artistic Directors, Leo Garcia & Patrick Kennelly.
Additional tour dates will be announced soon. For now, please find a current list of dates below.
Tour Dates Aug. 04 - Seattle, WA - Neumos* Aug. 19 - Los Angeles, CA - Perpetual Dawn Anniversary Show (venue TBA) Sep. 08 - Los Angeles, CA - Highways Performance Space** Sep. 11 - San Francisco, CA - San Francisco Electronic Music Festival * w/ Cakes Da Killa & Porter Ray ** w/ Busdriver, Pedestrian Deposit
Late last night, Clipping dropped their official video for “Wriggle,” the title cut from their just-released EP. (Which is out now and available for your purchasing pleasure here.) Hear the full EP here; see more of Clipping’s eye-assaulting visuals here.
The frantic clip - directed by Rodney Ascher - pairs performance footage of Clipping’s Daveed Diggs edited into a barrage of GIFs and we CAN’T STOP WATCHING.
The cup of Clipping runneth over in these past few days, and just last night the Los Angeles rap group - featuring Daveed Diggs, William Hutson, and Jonathan Snipes - announced their triumphant return to your ears with the new Wriggle EP, which is available digitally right here, right now.
Wriggle highlights include the title track, “Back Up” (feat. Antwon and Signor Benedick the Moor), “Shooter,” “Hot Fuck No Love” (feat. Cakes Da Killa and Maxi Wild), and “Our Time” (feat. Nailah Middleton). The EP was produced by Clipping, and is the group’s first release of new material since 2014’s CLPPNG, their acclaimed (and not at all coincidentally on-sale) second album and Sub Pop debut.
F your I - Wriggle precedes a new Clipping full-length, coming this fall on Sub Pop/Deathbomb Arc.
[Pictured: Daveed Diggs with an actual fake Tony Award]
And just two nights ago, Clipping’s Daveed Diggs won an actual not-fake Tony Award for “Best Featured Actor in a Musical” for Hamilton. While promoting the musical (in which he plays the Marquis de Lafayette and Thomas Jefferson) he stopped by the Tonight Show for an interview. During the segment, the Roots play “Work Work” as his walk-on music, and he’s asked to prove that he is the fastest rapper on Broadway. Which he does. Watch his acapella performance (and Jimmy Fallon’s subsequent geek out) of “Taking Off” from their album CLPPNG via this link right here.
Noise rap trio, clipping, debuted their latest video this week for the CLPPNG track “Get Up”, the third for the group from director Carlos Lopez Estrada (and in this case, co-director Cristina Bercovitz). We here at Sub Pop HQ have been blown away by the quality, creativity, and ingenuity displayed by Estrada and clipping in the videos that they have worked on together, first “Work, Work”, then “Inside Out”, and now with “Get Up”, that we decided we wanted to hear from the director. We sent him a few questions and he was kind enough to answer them.
Sub Pop: Tell us a bit about
how you became the sort of guy who makes music videos for experimental noize
rap trios like clipping.. Like, did you go to school for film? Are you friends
with the clipping. dudes? How do I get your job? Ignore any and or all of that,
Carlos Lopez Estrada: I’ll try to answer
all of your questions here. I’ll try my best. I did go to school for film, and
that is precisely how I met Jonathan (1/3 of clipping). He scored one of my
short films and we somehow managed to stay in touch through the years. I knew
he made weird music but I somehow never heard any of it until clipping came to
be. Of course, it blew my mind. The rest is history? I guess you get my job by
having friends who make weird things and convincing them to let you make weird
things with them. In terms of being friends with the dudes, I like to think
that is the case, but you should probably confirm with them. (Don’t think I won’t check on this – Ed)
SP: Do you typically collaborate with the artists you work with when creating music
CLE: As much as they let
me. Making videos for clipping is a complete unorthodox experience, though.
Working with them has been a true blessing because the guys are extremely
intelligent, absolutely fearless and always appreciative of the work that goes
into their videos. We met once for coffee and they were very specific about
what they *didn’t* want in their videos, then they pretty much trusted me to do
whatever I wanted. It was quite remarkable.
SP: The videos for
“Work Work” and “Inside Out” seem to follow the same
character through a linear timeline. Was this intentional when you initially
created the treatment for “Work Work” (the first of the two), or did
the idea come later? Will there be a future installment of the headless MC?
CLE: It is all part of a
master plan that I am unfortunately not able to talk much about, for both yours
and my safety. All I can say is that those 2 videos are the top of the tip
of an iceberg; and it is actually more like a glacier, rather than an iceberg.
(Sounds juicy. No, sounds icy. - Ed)
SP: Your visual
interpretation of clipping.’s “Get Up” is both heavy and beautiful
and feels like it makes the song even more culturally impactful than it already
was. What brought you to gunshot wound on the street?
CLE: Well, thank you very
much. Cristina Bercovitz deserves as much credit here because the idea was
hers as much as it was mine (we co-directed the video). The guys knew that “Get
Up” was our favorite track in the album so rather than asking us to pitch
against each other, they thought it would be a good thing for us to work
together on the video. That is how magical Clipping is. Now, this is one
of those songs that should perhaps not ever have a video, so agreeing to move
forward was difficult, to say the least. We went through many many
potential ideas and ended up with the most simple of them all, which seemed to
do justice to the way the band approached the music. Our only goal was to
present an absolute honest representation of how we interpreted the song, both
musically and emotionally. Hopefully someone out there will agree that we did.
Do those last few sentences even make any sense? Probably not.
SP: Any advice for aspiring filmmakers and/or video directors?
CLE: Don’t do it! (Sounds like someone’s afraid of a little competition - Ed.)
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