The ongoing tension between Drake and Kendrick Lamar may have reached a conclusion, but its impact lingers on. A notable instance of this is the anticipated reunion album from the Virginia rap duo Clipse, comprised of Pusha T and Malice. Initially set to be released under a subsidiary of Universal Music Group, which also represents both Lamar and Drake, the project faced complications when it was requested that the track “Chains and Whips,” featuring Lamar, be removed. Despite Lamar’s fierce verse—where he dismisses “kumbaya” sentiments—neither his contribution nor the song itself directly references Drake. This situation echoes back to when Pusha T dropped “The Story of Adidon,” a scathing diss aimed at Drake that one critic likened to “bringing a gun to a knife fight.” Allegedly, Universal’s “lyrics committee” viewed Lamar’s presence on any track with Pusha as provocative enough to warrant removal. Consequently, Clipse sought an exit from their contract with universal: their new album will rather debut under Jay-Z’s Roc Nation label.
This twist adds another layer to an already complex narrative—Drake is currently pursuing legal action against Universal for defamation related to Lamar’s hit song “Don’t Care About Us,” which Universal has dismissed as “entirely without merit.” They have not commented on the Clipse situation either. Regardless of these controversies, speculation about an alleged secret committee concerned about Clipse’s lyrical prowess serves as effective publicity for their comeback.
It has been fifteen years since Malice departed from Clipse due to his conversion to Christianity—a shift that conflicted with their signature depictions of life in drug dealing; he afterward adopted the name No Malice. In his recent track “POV,” he reflects humorously on returning for financial gain while acknowledging his past struggles with temptation (“Came back for the money; that’s the devil in me”).Now re-engaged in rapping about his former life as “the Bezos of narcotics,” he cleverly uses euphemisms like referring to cocaine as Lady Gaga.
Though, Clipse hardly needs additional hype surrounding their return; they built a dedicated fanbase through their first two albums released in 2002 and 2006, which fused hip-hop culture with street narratives—a blend that Pusha T famously described as connecting hipsters with felons and thugs alike. Pharrell Williams played an instrumental role in elevating them during this period through his production work alongside Chad Hugo as part of The neptunes—and now he’s back onboard for this new project too! While it might seem prudent not to provoke Pusha T given past feuds—Travis Scott receives sharp criticism on “So be It pt II”—the duo’s reputation alone ensures they remain relevant.
The attention-grabbing drama surrounding these events should not overshadow Let God Sort Em out, which stands out as a powerful reaffirmation of Clipse’s artistry and influence within hip-hop today. Their unique storytelling ability combined with technical skill remains strikingly rare amidst contemporary mainstream rap dominated by vibe-centric artists like Playboi Carti or Future rather than conventional lyricists who prioritize wordplay over atmosphere alone.
The Dynamic Duo Returns
The chemistry between Pusha T’s relentless style contrasted against Malice’s more contemplative approach creates an engaging listening experience reminiscent yet fresh—it reminds us what we’ve missed during their hiatus! On tracks like “Ace Trumpets,” Pusha asserts dominance over other rappers while Malice chimes in agreement by calling out impostors who merely admire luxury without substance (“All you impostors are just Ferrari window shoppers”).
A Blend Of Humor And Depth
Punchlines abound throughout Let God Sort Em Out, ranging from chilling observations down-to-earth humor; guest appearances from Nas or Tyler The Creator elevate expectations without overshadowing core performances either! Each beat produced here showcases how well Williams continues pushing boundaries creatively—even if some moments feel slightly commercialized compared against earlier works such as Grindin’ or Wamp Wamp. for instance—the rhythm behind Ebitda teases listeners into expecting somthing straightforward before maintaining its complexity throughout instead!
The only minor misstep occurs at opening track “The Birds Don’t Sing,” where its expansive John Legend-esque chorus veers into overly commercial territory inconsistent with what fans expect from Clipse—but even here poignant lyrics depicting simultaneous losses experienced by both brothers resonate deeply (“How you missed mama? I guess I’ll have my chance / Chivalry isn’t dead—you didn’t let her walk alone”). This emotional depth marks new territory previously unexplored by them while proving once again why Let God Sort Em Out prioritizes innovation over nostalgia—it feels familiar yet refreshingly original making it one among this year’s standout albums!
This Week Alexis Listened To:
Durand Jones & The Indications – Lovers’ Holiday
A delightful reinterpretation rather than mere cover version capturing Commerce’s disco classic vibes floating effortlessly along—a refreshing breeze amid summer heat waves!