CLIPPING Vinilo y CD

Review: Fresh from releasing a swathe of conceptual full-lengths, Los Angeles threesome Clipping have returned to their hip-hop roots via a mixtape style album reflective of their hip-hop roots. Of course, this is not hip-hop in the classical sense. According to the accompany sleeve notes, Dead Channel Sky is a collection of cuts focused on the present, dually inspired by the histories of cyberpunk and hip-hop. In practice, that means fast-flowing and lyrically dextrous rhymes, of course, but also beats that variously sample, chop up or reference everything from 90s rave classics, the rock-rave big beat antics of the Prodigy and Nine Inch Nails stail industrial grit, to TB-303-laden acid house, the dark and doomy trip-hop of Mezzanine-era Massive Attack, drum and bass and experimental electronica.

Review: Imagine a world where the pioneers of hip-hop and electro reign supreme, their sounds echoing through the neon-lit streets of a futuristic metropolis. This is the world that Clipping creates, their music a heady blend of gritty beats, razor-sharp rhymes and dystopian soundscapes. 'Dominator' and 'Change the Channel' set the tone with their raw energy and infectious hooks, while 'Run It' and 'Go' showcase the group's lyrical dexterity and knack for crafting intricate rhymes that weave tales of technology, alienation and social unrest. Collaborations with Aesop Rock, Nels Cline and Cartel Madras add further depth and dimension to the album's sonic tapestry, each artist bringing their unique flavour to the mix. Tracks like 'Simple Degradation' and 'Mood Organ' delve into the darker corners of this dystopian world, exploring the anxieties and uncertainties of a future dominated by technology. It's not for the faint of heart, but it is a thrilling ride through a world of futuristic sounds and thought-provoking lyrics.

Review: Experimental hip-hop supertroupe Clipping returns with a new collaborative single with Cooling Prongs (Christopher Fleeger) for a noise-infused remake of J-Kwon's 2004 hi 'Tipsy' on the A-side, followed by a harrowing ambient noise track by the latter artist on the B. Diggs and co.'s obverse is a raucous industrial cover version, revelling in the in-the-club braggadocio of the original, yet diverting its repetitious crunk towards metallic clanks and rapid snaps. Prongs' 'Midnight' is a surreal, deep-fried coda to counterpart the A's heat, providing it the utmost ample dark contrast.