Review: Clipse, Let God Sort Em Out - A Stellar Offering
Clipse’s Let God Sort Em Out is a very special moment in hip-hop. Not only does it feature some of the best lyrical performances from two of some of the best (and most underrated) rappers in the industry. Brothers, Clipse and Malice leave no stone unturned after a more than 13 year hiatus. Hip-hop fans who appreciate thoughtful, dramatic rhymes truly have something to relish here.
The first 8 songs were definitely made for my crowd; longtime admirers of Clipse and their contributions to rap, but also have grown to appreciate a certain brand of pop-perfect products, the likes of which Pharrell Williams (the album’s executive producer) is known for architecting and directing across the past 30 years or so. Collectible sculptures, glass-encased rare sneakers, album covers as symbolic artifacts reflecting ages of rap zeitgeist. (The cover of Let God Sort Em Out was made by world-renowned pop-contemporary artist KAWS.)
All of that is represented sonically here — art as product; percussion and synths so heavy they're physical objects building out the world. Sounds here are structured, weighty, and refine each rap verse. Pharrell hasn’t lost his touch as a producer either, prioritizing obsessively simplistic but full drum patterns, gospel choir backdrops, dramatic horns, and strings, all to encapsulate urgency, desperation and forgiveness. On “Ace Trumpets", for example vocals here from both brothers are sinister, in the pocket, theatrical, and gritty.
Songs like “M.T.B.T.T.F.” (or Mike Tyson Blow to The Face) are a masterclass in rap. Epic, reverbed vocals on the intro from Pusha T lead us into a head-on collision with a-cappella vocals from Malice followed by a killer verse:
You niggas is screenwriters, we dream writers/
Took change and touched chains like King Midas/
Imitation is flattery, they seem like us/
But only 300 bricks can make yo Leonidas/
…and before you know what hit you, the song is on its final chorus. A profound, brief but purposeful record that lets the world know where rap has evolved to and what it was destined to become.
There are many songs like that on the album. Songs “F.I.C.O,” “Inglorious Bastards,” and “Let God Sort Em Out / Chandeliers” are in the second half of the album, and while I enjoy them all, they seem to be quite the sonic detour. An interruption from the absolutely devastating production on “Chains & Whips,” “POV,” and “So Be It…” songs that set the heavy tone for the first leg of the album. They are all strong songs but don’t appear to be nearly as obsessive; they sound like they are more for the casual fan who loves the idea of hearing Nas’s voice on “Chandeliers” or find solace in Stove God Cook’s laid back hook on “FICO”– a nice melodic break from the darker undertones dominating the first half of the album.
The album is a great representation of contemporary hip-hop. Intentional, masterful lyrics from Clipse. Pharrell’s locked in on production that is not just enjoyable but easily distinguishable from recent releases within the genre. This album reflects some of the best of hip-hop design choices over the past 25 years—an era that Pusha T, Malice, Pharrell (and Kanye) have had a profound impact on shaping. The final song, “By the Grace of God,” is one of Clipse’s best songs in their catalog; it doesn’t overstay, is beautiful and heroic, and is an incredible way to end Let God Sort ’Em Out.
Verdict: 8/10
