There’s zip in in their their snip

The Irish Times - Friday - The Ticket - - MUSIC - JIM CAR­ROLL

CLIP­PING

Clppng Sub Pop

As with hurl­ing in some coun­ties, there’s al­ways a cri­sis brew­ing in hip-hop. The sound is wide and deep, with berths for all com­ers, from those who want their beats pep­pered with poppy EDM to those who want to keep it real in the old­fash­ioned sense. This cri­sis and con­flict about what hip-hop ac­tu­ally sig­ni­fies and rep­re­sents can oc­ca­sion­ally get a lit­tle tir­ing.

It’s clear that Clip­ping have lit­tle truck with wor­ry­ing un­duly about such def­i­ni­tions. The LA trio ar­rived last year with Mid­c­ity, kicked down lots of doors, and at­tracted the at­ten­tion of the Sub Pop la­bel. With Clppng, they’ve re­turned to put a dif­fer­ent type of blood in the mu­sic. Mid­c­ity was an au­da­cious and brac­ing af­fair, and Clppng is a much more toned and nu­anced tour-de­force. More noise, but dif­fer­ent noise.

Clip­ping spe­cialise in vis­ceral ten­sion. You have Wil­liam Hut­son and Jonathan Snipes fronting the all-guns­blaz­ing bar­rage of ex­plo­sive and ex­per­i­men­tal noise (they have pre­vi­ous form pro­duc­ing mu­sic for vis­ual me­dia), while Daveed Diggs de­liv­ers the lyri­cal wake-up calls.

Thanks to Diggs’s sharp skill as a word­smith, tracks such as Work Work, In­side Out and Get Up (with an alarm clock as the only in­stru­ment) are loaded with fever­ish im­ages and para­noid ob­ser­va­tions. The in­dus­trial cling and clang of the soundbed, mean­while, ratch­ets up the panic a few notches.

Clip­ping also toy with your ex­pec­ta­tions, and Tonight has all the mak­ings of a de­cent club banger be­fore you re­alise that they guys are prob­a­bly on a podium sneer­ing rather than smil­ing.

Clip­ping and Clppng are ex­am­ples of hip-hop’s great pos­si­bil­i­ties. When you’re pro­duc­ing sounds as vi­tal, pointed and in­tense as this, why fret about genre se­man­tics? itsclip­ping­bitch.com

Down­load: Work Work, In­side Out, Get Up

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