{"title":"clipping.","description":null,"products":[{"product_id":"there-existed-an-addiction-to-blood-lp","title":"There Existed An Addiction To Blood [LP]","description":"\u003cp\u003e\u003cspan\u003eThe science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting\/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor \u0026amp; Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. 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The song was originally commissioned for a This American Life about Afrofuturism in 2017. The track earned Clipping a nomination for a 2018 Hugo award, and the band constructed a sound installation based on “The Deep” at the Massachusetts Museum of Contemporary Art. This release comes on the heels of the November 5th release of The Deep, a novella by Rivers Solomon (with Clipping credited as co-authors) inspired by the title track and published by Saga Press. The vinyl and digital versions include two otherwise-unreleased extra tracks – including “Aquacode Databreaks,” which features Shabazz Palaces – and the vinyl edition includes instrumental versions of all three tracks.\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Deep\u003c\/li\u003e\n\u003cli\u003eAquacode Databreaks (feat. 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Blending precise, quick fire vocals with caustic burst of noise, clipping. are classic west coast rap music from the tradition where sounding different wasn't cause for fear.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBody ; Blood\u003c\/li\u003e\n\u003cli\u003eWork Work (Feat. Cocc Pistol Cree)\u003c\/li\u003e\n\u003cli\u003eSummertime (Feat. King T)\u003c\/li\u003e\n\u003cli\u003eInside Out\u003c\/li\u003e\n\u003cli\u003eTonight (Feat. Gangsta Boo)\u003c\/li\u003e\n\u003cli\u003eDream\u003c\/li\u003e\n\u003cli\u003eGet Up (Feat. Mariel Jacoda)\u003c\/li\u003e\n\u003cli\u003eOr Die (Feat. Guce)\u003c\/li\u003e\n\u003cli\u003eTaking Off 1\u003c\/li\u003e\n\u003cli\u003eStory 2 1\u003c\/li\u003e\n\u003cli\u003eDominoes 1\u003c\/li\u003e\n\u003cli\u003eWilliams Mix (Feat. 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For “Shooter,” Clipping recorded themselves firing fifteen dierent guns, the sounds of which exclusively constituted the beat’s drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of “hashtag rap,” but instead of using it to boast about the rapper’s personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group’s music, “Shooter” was an attempt to reframe a familiar style and test the limits of its formal capabilities. “Hot Fuck No Love” contains what might be the most explicit verse to date from Clipping’s favorite New Jersey rapper Cakes Da Killa. The EP’s title track, “Wriggle,” was built around a sample of the influential power-electronics song “Wriggle Like a Fucking Eel” by Whitehouse, transforming William Bennett’s torturous imperative into a instructional dance-floor banger. “Wriggle” and “Shooter” have become classic Clipping tracks and staples of their live show. \u003cbr\u003e\u003cbr\u003eWith this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs’ thriving acting career - get the vinyl version of Wriggle they’ve been clamoring for.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eShooter\u003c\/li\u003e\n\u003cli\u003eBack Up 2021 (Feat. Debby Friday \u0026amp; SB The Moor)\u003c\/li\u003e\n\u003cli\u003eWriggle\u003c\/li\u003e\n\u003cli\u003eHot Fuck No Love (Feat. Cakes Da Killa \u0026amp; Maxi Wild)\u003c\/li\u003e\n\u003cli\u003eOur Time (Feat. 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Initially conceived as a remix project, Jonathan Snipes and William Hutson began pairing noise and power-electronics inspired tracks with (stolen) vocals by commercial rap artists. Jonathan and William did this mostly to amuse each other and the duo earned very few fans. However, the band began in earnest in early 2010, when rapper and friend Daveed Diggs joined the group. Clipping was their first project as a trio, building on both their long friendship and their many shared obsessions: rap, experimental music, and genre fiction, among others. Clipping released Midcity on their Bandcamp page in 2013 and signed with Sub Pop three months later. The band described their debut as party music for the club you wish you hadn t gone to, the car you don t remember getting in, and the streets you don t feel safe on. In 2014, they released their Sub Pop debut, CLPPNG, omitting I in the title and lyrics to vacate rap of its traditional center, revealing instead a collage of recurrent rap themes. 2016 s Wriggle EP, released after Daveed s Tony award for his role as Marquis de Lafayette and Thomas Jefferson in the acclaimed Broadway musical Hamilton, included Shooter, which used gunshot sounds as the beat for an imagistic narrative of three different violent encounters. Since the release of CLPPNG, things have changed for the band William finished his Ph.D. in Theater and Performance Studies with a dissertation on experimental music, Jonathan composed scores for the films Starry Eyes, The Nightmare, Excess Flesh, and Contracted: Phase II, and Daveed hit Broadway. Their activities outside Clipping have always influenced their work in the band, but never as much as in the creation of Splendor \u0026amp; Misery. Splendor \u0026amp; 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.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLong Way Away (Intro)\u003c\/li\u003e\n\u003cli\u003eThe Breach\u003c\/li\u003e\n\u003cli\u003eAll Black\u003c\/li\u003e\n\u003cli\u003eInterlude 01 (Freestyle)\u003c\/li\u003e\n\u003cli\u003eWake Up\u003c\/li\u003e\n\u003cli\u003eLong Way Away\u003c\/li\u003e\n\u003cli\u003eInterlude 02 (Numbers)\u003c\/li\u003e\n\u003cli\u003eTrue Believer\u003c\/li\u003e\n\u003cli\u003eLong Way Away (Instrumental)\u003c\/li\u003e\n\u003cli\u003eAir 'em Out\u003c\/li\u003e\n\u003cli\u003eInterlude 03 (Freestyle)\u003c\/li\u003e\n\u003cli\u003eBreak The Glass\u003c\/li\u003e\n\u003cli\u003eStory 5\u003c\/li\u003e\n\u003cli\u003eBaby Don't Sleep\u003c\/li\u003e\n\u003cli\u003eA Better Place\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 098787117318\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sub Pop\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.6.16\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"clipping.","offers":[{"title":"Default Title","offer_id":45456447406278,"sku":"394389","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3425989.jpg?v=1768508982"},{"product_id":"there-existed-an-addiction-to-blood-cd","title":"There Existed An Addiction To Blood [CD]","description":"\u003cp\u003e\u003cspan\u003eThe science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting\/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor \u0026amp; Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIntro\u003c\/li\u003e\n\u003cli\u003eNothing Is Safe\u003c\/li\u003e\n\u003cli\u003eHe Dead (Feat. Ed Balloon)\u003c\/li\u003e\n\u003cli\u003eHaunting (Interlude)\u003c\/li\u003e\n\u003cli\u003eLa Mala Ordina (With The Rita) [Feat. Elcamino \u0026amp;amp; Benny The Butcher]\u003c\/li\u003e\n\u003cli\u003eClub Down (With Sarah Bernat)\u003c\/li\u003e\n\u003cli\u003eProphecy (Interlude)\u003c\/li\u003e\n\u003cli\u003eRun For Your Life (Feat. La Chat)\u003c\/li\u003e\n\u003cli\u003eThe Show\u003c\/li\u003e\n\u003cli\u003ePossession (Interlude)\u003c\/li\u003e\n\u003cli\u003eAll In Your Head (Feat. 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As the insufferable film bro Randy explains in Scream 2, “There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate—more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead.” Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won’t stay dead.\u003c\/p\u003e\r\n\u003cp\u003eVisions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple canceled tours pushed the release of the project’s “part two” until the following Halloween season.\u003c\/p\u003e\r\n\u003cp\u003eVisions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping’s angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore—the purposely absurdist hip-hop subgenre that flourished in the 1990s—the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny.\u003c\/p\u003e\r\n\u003cp\u003eThe album features a host of collaborators: Inglewood’s Cam \u0026amp; China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, “Secret Piece,” is a performance of a Yoko Ono text score from 1953 that instructs the players to “Decide on one note that you want to play\/Play it with the following accompaniment: the woods from 5am to 8am in summer,” and features nearly all of the musicians who appeared on both albums.\u003c\/p\u003e\r\n\u003cp\u003eSince their last album, Daveed Diggs—the group’s Tony and Grammy Award-winning rapper—has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar’s Soul, and portrayed Frederick Douglass in Showtime’s The Good Lord Bird. Writer Rivers Solomon’s novella based on Clipping’s Hugo-nominated song “The Deep” has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF\/Fantasy\/Horror novel. Clipping’s song “Chapter 319”—a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020—was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song’s lyrics (“Donald Trump is a white supremacist, full stop...”) directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon’s “Tipsy” to Save Stereogum: An ‘00s Covers Comp.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIntro\u003c\/li\u003e\n\u003cli\u003eSay the Name\u003c\/li\u003e\n\u003cli\u003eWytchboard (Interlude)\u003c\/li\u003e\n\u003cli\u003e’96 Neve Campbell (feat. Cam \u0026amp;amp; China)\u003c\/li\u003e\n\u003cli\u003eSomething Underneath\u003c\/li\u003e\n\u003cli\u003eMake Them Dead\u003c\/li\u003e\n\u003cli\u003eShe Bad\u003c\/li\u003e\n\u003cli\u003eInvocation (Interlude) [with Greg Stuart]\u003c\/li\u003e\n\u003cli\u003ePain Everyday (with Michael Esposito)\u003c\/li\u003e\n\u003cli\u003eCheck the Lock\u003c\/li\u003e\n\u003cli\u003eLooking Like Meat (feat. Ho99o9)\u003c\/li\u003e\n\u003cli\u003eDrove (Interlude)\u003c\/li\u003e\n\u003cli\u003eEaten Alive (with Jeff Parker \u0026amp;amp; Ted Byrnes)\u003c\/li\u003e\n\u003cli\u003eBody for the Pile (with Sickness)\u003c\/li\u003e\n\u003cli\u003eEnlacing\u003c\/li\u003e\n\u003cli\u003eSecret Piece\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 098787133127\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sub Pop\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.23.20\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"clipping.","offers":[{"title":"Default Title","offer_id":45456758210758,"sku":"553080","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3858267-2602673.jpg?v=1768513028"},{"product_id":"clppng-cd","title":"CLPPNG [CD]","description":"\u003cp\u003eCLPPNG is the debut album from LA based rap trio, clipping. for Sub Pop Records. Blending precise, quick fire vocals with caustic burst of noise, clipping. are classic west coast rap music from the tradition where sounding different wasn't cause for fear.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBody \u0026amp; Blood\u003c\/li\u003e\n\u003cli\u003eWork Work (Feat. Cocc Pistol Cree)\u003c\/li\u003e\n\u003cli\u003eSummertime (Feat. King T)\u003c\/li\u003e\n\u003cli\u003eInside Out\u003c\/li\u003e\n\u003cli\u003eTonight (Feat. Gangsta Boo)\u003c\/li\u003e\n\u003cli\u003eDream\u003c\/li\u003e\n\u003cli\u003eGet Up (Feat. Mariel Jacoda)\u003c\/li\u003e\n\u003cli\u003eOr Die (Feat. Guce)\u003c\/li\u003e\n\u003cli\u003eTaking Off\u003c\/li\u003e\n\u003cli\u003eStory 2\u003c\/li\u003e\n\u003cli\u003eDominoes\u003c\/li\u003e\n\u003cli\u003eWilliams Mix (Feat. Tom Erbe)\u003c\/li\u003e\n\u003cli\u003eRun Out\u003c\/li\u003e\n\u003cli\u003eWilliams Mix (Feat. Tom Erbe)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 098787107128\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sub Pop\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.10.14\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"clipping.","offers":[{"title":"Default Title","offer_id":45456769351878,"sku":"558745","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/2561134.jpg?v=1768513170"}],"url":"https:\/\/paladinvinyl.com\/collections\/artist-clipping.oembed","provider":"Paladin Vinyl","version":"1.0","type":"link"}