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clipping. / Discography
 Жанр: Hip Hop, Glitch, Harsh Noise, Abstract, Experimental Страна-производитель диска: Los Angeles, California Год издания диска: 2012-2025 Тип издания: CD, Web, Vinyl Издатель (лейбл): Sub Pop Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue, tracks Продолжительность: 49:00:52 Источник (релизер): bandcamp, what.cd, REDacted, qobuz Наличие сканов в содержимом раздачи: front, digital clipping. is a Los Angeles, United States rap trio formed in 2010 by William Hutson (Rale), film soundtrack composer Jonathan Snipes (ex-Captain Ahab) and vocalist Daveed Diggs. Lyrically, clipping.’s music attempts to reshuffle and repeat accepted rap scenarios, while eliminating a traditional single-point perspective. Diggs’s writing is heavily citational, like a rough-edged collage, gluing together half-glimpsed images and misremembered references, many of which might feel familiar, and some of which assuredly do not. But even while he consumes and regurgitates established styles, his self-erasure is incomplete; Diggs’s dense, often motormouthed flow remains wholly his own. Individually, the members are known outside of the group for their extra-curricular artistic projects. Diggs is a stage actor, while Snipes composes music for film, and Hutson is an established noise music artist. Snipes and Hutson have collaborated on many projects, including the score to the documentary Room 237, which was released by IFC in 2013. In February 2013, clipping. released their debut album, Midcity, on their website. The project was created entirely in-house, with the trio writing, producing, engineering, mixing and mastering all of the material themselves. There was no budget, no outside promotion, no hype-machine, no blog or label interest. In fact, clipping. had no expectation that anyone would bother listening to the album, let alone enjoy it. Nevertheless, reactions were largely positive— despite the uncompromising nature of the production, and its obfuscatory lyrical content— and within five month’s of Midcity’s release, clipping. signed a deal with Sub Pop Records. CLPPNG, the band’s label debut, was written and recorded between February and October of 2013. Highly well-received, CLPPNG is an album that demonstrates the variety of sounds available when the ‘rules’ of a genre are willfully questioned. 
 Tracklist:01. clipping. - face (1:59) 02. clipping. - studio freestyle 01 (2:36) 03. clipping. - block (4:34) Originally released as a cassette on Deathbomb Arc; catalog # dba118. released July 17, 2012 
----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - Chain (4:29) 02. clipping. - Chain (Acapella) (3:40) 03. clipping. - Jump (4:19) 04. clipping. - Jump (Acapella) (4:00) Artwork By – Kevin McEleney Mastered By [Digital Premastering] – Thomas Dimuzio Written-By – D. Diggs, D. Rothbaum (tracks: A1), J. Snipes, W. Hutson "Jump" contains samples from "Straight Down Low", a film by Zack Wechter, music by John W. Snyder. 
----------------------- foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. Foot Village - this song is a drug deal (clipping. remix) (2:57) foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - intro (2:17) 02. clipping. - loud (3:48) 03. clipping. - bout.that (ft. baseck) (3:55) 04. clipping. - get.it (ft. kill rogers & TiVO) (3:01) 05. clipping. - five (2:45) 06. clipping. - bullshit (ft. jalene goodwin) (3:50) 07. clipping. - overpass (skit) (1:06) 08. clipping. - guns.up (4:21) 09. clipping. - mobb2it (4:43) 10. clipping. - killer (ft. kill rogers) (3:23) 11. clipping. - collect (skit) (0:58) 12. clipping. - story (3:17) 13. clipping. - real (ft. ezra buchla) (3:11) 14. clipping. - outro (10:46) released February 5, 2013 clipping. is daveed diggs, william hutson & jonathan snipes guests: derrick "baseck" estrada, TiVO, kill rogers, jalene goodwin, ezra buchla
foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - intro (1:05) 02. clipping. - body & blood (4:29) 03. clipping. - work work (feat. cocc pistol cree) (3:42) 04. clipping. - summertime (feat. king t) (4:03) 05. clipping. - taking off (4:50) 06. clipping. - tonight (feat. gangsta boo) (4:36) 07. clipping. - dream (5:30) 08. clipping. - get up (feat. mariel jacoda) (2:56) 09. clipping. - or die (feat. guce) (4:06) 10. clipping. - inside out (3:37) 11. clipping. - story 2 (2:12) 12. clipping. - dominoes (5:58) 13. clipping. - ends (5:26) 14. clipping. - williams mix (feat. tom erbe) (4:22) 
Exact Audio Copy V1.0 beta 3 from 29. August 2011 REM DATE 2014 ----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. Clipping. - Intro (1:07) 02. Clipping. - Body & Blood (4:29) 03. Clipping. - Work Work (Featuring Cocc Pistol Cree) (3:45) 04. Clipping. - Summertime (Featuring King T) (4:04) 05. Clipping. - Taking Off (4:49) 06. Clipping. - Tonight (Featuring Gangsta Boo) (4:36) 07. Clipping. - Dream (5:27) 08. Clipping. - Get Up (Featuring Mariel Jacoda) (2:56) 09. Clipping. - Or Die (Featuring Guce) (4:06) 10. Clipping. - Inside Out (3:36) 11. Clipping. - Story 2 (2:20) 12. Clipping. - Dominoes (6:04) 13. Clipping. - Ends (4:22) 14. Clipping. - Williams Mix (Featuring Tom Erbe) (4:20)
X Lossless Decoder version 20140504 (147.0) TITLE "Clppng" ----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - Intro (1:06) 02. clipping. - Body & Blood (4:28) 03. clipping. - Work Work (Feat. Cocc Pistol Cree) (3:44) 04. clipping. - Summertime (Feat. King T) (4:02) 05. clipping. - Taking Off (4:48) 06. clipping. - Tonight (Feat. Gangsta Boo) (4:34) 07. clipping. - Dream (5:27) 08. clipping. - Get Up (Feat. Mariel Jacoda) (2:56) 09. clipping. - Or Die (Feat. Guce) (4:06) 10. clipping. - Inside Out (3:36) 11. clipping. - Story 2 (2:12) 12. clipping. - Dominoes (5:58) 13. clipping. - Ends (4:21) 14. clipping. - Williams Mix (Feat. Tom Erbe) (4:19) Japan Bonus Tracks 15. clipping. - Brian (featuring Brian Chippendale) (3:56) 16. clipping. - God Given Tongue (featuring Bryan Lewis Saunders) (8:30) ----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - Intro (1:06) 02. clipping. - Body & Blood (4:28) 03. clipping. - Work Work (feat. Cocc Pistol Cree) (3:44) 04. clipping. - Summertime (feat. King T) (4:02) 05. clipping. - Taking Off (4:48) 06. clipping. - Tonight (feat. Gangsta Boo) (4:34) 07. clipping. - Dream (5:27) 08. clipping. - Get Up (feat. Mariel Jacoda) (2:56) 09. clipping. - Or Die (feat. Guce) (4:06) 10. clipping. - Inside Out (3:36) 11. clipping. - Story 2 (2:12) 12. clipping. - Dominoes (5:58) 13. clipping. - Ends (4:21) 14. clipping. - Williams Mix (feat. Tom Erbe) (4:19) CLPPNG 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. released June 10, 2014
foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - something they don't know (ft. sb the moor, nocando, open mike eagle, and cuts by baseck) (6:16) 02. clipping. - mouth (ft. black mushroom, chinaka hodge) (4:52) 03. clipping. - something they don't know - instrumental (6:16) 04. clipping. - something they don't know - acapella (6:08) 05. clipping. - mouth - instrumental (4:52) 06. clipping. - mouth - acapella (4:44) “Something They Don’t Know” and “Mouth” are posse cuts we made with a bunch of close friends. Please check out all the other artists on these tracks if you’re not already familiar with their work. “Something They Don’t Know” contains twenty four samples. We will send a free, one-of-kind, edition-of-one, Clipping t-shirt to the first fan who can name them all. (Note, this count does not include the samples from CLPPNG which appear in the scratch solo.) released October 2, 2014 All music and lyrics by Clipping (Daveed Diggs, William Hutson and Jonathan Snipes). Additional lyrics and vocals on “Something They Don’t Know” by Christian A. McLaurin, James McCall and Michael Eagle II. Scratches by Derrick Estrada. Additional lyrics and vocals on “Mouth” by Nico Cary, Chinaka Hodge and Rafael Casal.
foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - ends (5:10) 02. clipping. - brian (feat. Brian Chippendale) (3:53) Downloaded from Sub Pop via DL code included with 7" Vinyl (which was included with CLPPNG LP.) ----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - Killer (Back To The Future The Ride remix) (3:19) released October 21, 2015
----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - intro (acapella) (2:29) 02. clipping. - loud (acapella) (4:00) 03. clipping. - bout.that (acapella) (3:57) 04. clipping. - get.it (acapella) (3:14) 05. clipping. - five (acapella) (2:52) 06. clipping. - bullshit-vocal1 (acapella) (3:57) 07. clipping. - bullshit-vocal2 (acapella) (4:02) 08. clipping. - guns.up (acapella) (4:23) 09. clipping. - mobb2it (acapella) (4:54) 10. clipping. - killer (acapella) (3:40) 11. clipping. - story (acapella) (3:31) 12. clipping. - real-vocal1 (acapella) (3:18) 13. clipping. - real-vocal2 (acapella) (3:18) foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - intro (acapella) (1:00) 02. clipping. - body & blood (acapella) (4:12) 03. clipping. - work work (acapella) (3:00) 04. clipping. - summertime (acapella) (3:19) 05. clipping. - taking off (acapella) (4:35) 06. clipping. - tonight (acapella) (4:30) 07. clipping. - dream (acapella) (4:25) 08. clipping. - get up (acapella) (2:49) 09. clipping. - or die (acapella) (3:58) 10. clipping. - inside out (acapella) (3:15) 11. clipping. - inside out (frank) (0:06) 12. clipping. - story 2 (acapella) (2:01) 13. clipping. - dominoes (acapella) (5:31) 14. clipping. - dominoes (kids) (1:04) 15. clipping. - ends (acapella) (3:53) released May 29, 2016 cover art by Jack Roscoe
foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - body & blood (fabrik nos remx) (5:45) 02. clipping. - summertime (copy remx) (3:50) 03. clipping. - tonight (schwarz club remx) (3:31) 04. clipping. - work work (pelts remx) (2:55) 05. clipping. - body & blood (lauren bousfield's men, women, and chainsaws remx) (4:22) 06. clipping. - get up (terminal 11 remx) (2:56) 07. clipping. - ends (xanopticon remx) (5:17) 08. clipping. - body & blood (rind remx) (3:34) 09. clipping. - taking off (ripit remx) (5:01) 10. clipping. - tonight (rp boo remx) (4:25) 11. clipping. - body & blood (sleeparchive remx) (6:37) 12. clipping. - ends (lauren bousfield's hollow, w(hol(l)y) add to cart edit) (4:40) 13. clipping. - body & blood (kanga remx) (3:59) 14. clipping. - inside out (thom alt-j remx) (2:40) 15. clipping. - work work (toecutter remx) (3:26) 16. clipping. - body & blood (INJUN dubstep remx) (3:52) 17. clipping. - ends (cooling prongs remx) (6:38) released May 29, 2016
foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - hour 1 (1:00:00) 02. clipping. - hour 2 (1:00:00) 03. clipping. - hour 3 (1:00:00) 04. clipping. - hour 4 (1:00:00) 05. clipping. - hour 5 (1:00:00) 06. clipping. - hour 6 (1:00:00) 07. clipping. - hour 7 (1:00:00) 08. clipping. - hour 8 (1:00:00) 09. clipping. - hour 9 (1:00:00) 10. clipping. - hour 10 (1:00:00) 11. clipping. - hour 11 (1:00:00) 12. clipping. - hour 12 (1:00:00) 13. clipping. - hour 13 (1:00:00) 14. clipping. - hour 14 (1:00:00) 15. clipping. - hour 15 (1:00:00) 16. clipping. - hour 16 (1:00:00) 17. clipping. - hour 17 (1:00:00) 18. clipping. - hour 18 (1:00:00) 19. clipping. - hour 19 (1:00:00) 20. clipping. - hour 20 (1:00:00) 21. clipping. - hour 21 (1:00:00) 22. clipping. - hour 22 (1:00:00) 23. clipping. - hour 23 (1:00:00) 24. clipping. - hour 24 (1:00:00) released May 29, 2016
----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - Intro (0:51) 02. clipping. - Shooter (3:28) 03. clipping. - Back Up (feat. ANTWON & Signor Benedick the Moor) (3:52) 04. clipping. - Wriggle (4:04) 05. clipping. - Hot Fuck No Love (feat. Cakes da Killa & Maxi Wild) (3:30) 06. clipping. - Our Time (feat. Nailah Middleton) (4:16) released June 14, 2016
----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. Clipping - Intro (0:51) 02. Clipping - Shooter (3:28) 03. Clipping - Back Up (feat. ANTWON & Signor Benedick the Moor) (3:52) 04. Clipping - Wriggle (4:04) 05. Clipping - Hot Fuck No Love (feat. Cakes da Killa & Maxi Wild) (3:30) 06. Clipping - Our Time (feat. Nailah Middleton) (4:16) http://www.hdtracks.com/wriggle foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - Intro (0:52) 02. clipping. - Shooter (3:27) 03. clipping. - Back Up (feat. Antwon & SB the Moor) (3:52) 04. clipping. - Wriggle (4:04) 05. clipping. - Hot F**k No Love (feat. Cakes da Killa & Maxi Wild) (3:29) 06. clipping. - Our Time (feat. Nailah Middleton) (4:17) Exact Audio Copy V1.1 from 23. June 2015 REM DATE 2016 ----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - Long Way Away (Intro) (1:05) 02. clipping. - The Breach (0:57) 03. clipping. - All Black (6:15) 04. clipping. - Interlude 01 (Freestyle) (1:29) 05. clipping. - Wake Up (2:10) 06. clipping. - Long Way Away (1:26) 07. clipping. - Interlude 02 (Numbers) (1:08) 08. clipping. - True Believer (4:10) 09. clipping. - Long Way Away (Instrumental) (0:57) 10. clipping. - Air 'Em Out (3:54) 11. clipping. - Interlude 03 (Freestyle) (1:09) 12. clipping. - Break the Glass (1:58) 13. clipping. - Story 5 (3:27) 14. clipping. - Baby Don't Sleep (3:07) 15. clipping. - A Better Place (4:25) Art Direction, Design – Clipping. Illustration [Cover Illustration] – Jay Shaw Mastered By – Reuben Cohen Mixed By – Steve Kaplan Recorded By – Clipping, Steve Kaplan Songwriter – Clipping "Loser Edition" on clear vinyl. Made available for all pre-orders of the album (while supplies last) at Sub Pop Mega Mart and also available at other retailers. Includes download code. Pre-orders from Sub Pop include an iron-on patch. Pre-orders from Deathbomb Arc include a commemorative sticker. Side A ends in a locked groove.
Recorded on first-ever play. No post-production done besides normalization.foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. Clipping - Long Way Away (intro) (1:06) 02. Clipping - The Breach (0:56) 03. Clipping - All Black (6:15) 04. Clipping - Interlude 01 (freestyle) (1:35) 05. Clipping - Wake Up (2:05) 06. Clipping - Long Way Away (1:31) 07. Clipping - Interlude 02 (numbers) (1:04) 08. Clipping - True Believer (3:45) 09. Clipping - Long Way Away (instrumental) (0:52) 10. Clipping - Air 'Em Out (3:50) 11. Clipping - Interlude 03 (freestyle) (1:09) 12. Clipping - Break the Glass (2:22) 13. Clipping - Story (3:04) 14. Clipping - Baby Don't Sleep (3:07) 15. Clipping - A Better Place (4:26) *Cassette format is available from Sub Pop's Mega Mart store.* Clipping formed in Los Angeles in 2009. 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 & Misery. Splendor & 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. released September 9, 2016 Released on Sub Pop Records & Deathbomb Arc. Exact Audio Copy V1.0 beta 3 from 29. August 2011 REM GENRE Experimental ----------------------- foobar2000 1.3.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. Clipping - Long Way Away (Intro) (1:06) 02. Clipping - The Breach (0:56) 03. Clipping - All Black (6:15) 04. Clipping - Interlude 01 (Freestyle) (1:35) 05. Clipping - Wake Up (2:05) 06. Clipping - Long Way Away (1:31) 07. Clipping - Interlude 02 (Numbers) (1:04) 08. Clipping - True Believer (3:45) 09. Clipping - Long Way Away (Instrumental) (0:52) 10. Clipping - Air 'Em Out (3:50) 11. Clipping - Interlude 03 (Freestyle) (1:09) 12. Clipping - Break the Glass (2:22) 13. Clipping - Story 5 (3:04) 14. Clipping - Baby Don't Sleep (3:07) 15. Clipping - A Better Place (4:26) Clipping formed in Los Angeles in 2009. 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 & Misery. Splendor & 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. released September 9, 2016 Released on Sub Pop Records & Deathbomb Arc.
foobar2000 1.2.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - The Deep (5:25) *Despite the artwork suggesting otherwise, there is only one (1) track available with this release.* released August 18, 2017
----------------------- foobar2000 1.2.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - Face (2:00) 02. clipping. - Studio Freestyle 01 (2:34) 03. clipping. - Block (4:33) 04. clipping. - Face (Youth Code Remix) (4:07) 05. Foot Village - This Song is a Drug Deal (clipping. Remix) (2:58) 06. clipping. - Face (Jpegmafia Remix) (1:39) 07. clipping. - Face (Signor Benedick the Moor Remix) (4:44) 08. clipping. - Face (Flanch Remix) (2:52) 09. clipping. - Face (Acapella) (1:54) Available for the first time ever on vinyl, and newly remastered with bonus tracks, Deathbomb Arc is excited to reissue clipping.'s first physical release. This ep includes the live favorite "Face", plus other rare gems both new and old. Tracks 1-3 originally released as a cassette on Deathbomb Arc (DBA118). in September, 2012. Track 5 originally released as a digital single in February, 2013. released May 25, 2018 Cover photography by Shayna Peveler. Mastered by Thomas Dimuzio at Gench Studios. Thanks to Ed Flis, Ryan George, and Sara Taylor for their remixes. Thanks to Citizens Lee, Miller, Rowan, and Taylor for their source material for track 5. All songs copyright Clipping, 2012, 2013, and 2018
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Stab Him in the Throat (3:27) ----------------------- foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Intro (1:04) 02. clipping. - Nothing is Safe (4:57) 03. clipping. - He Dead (feat. Ed Balloon) (4:22) 04. clipping. - Haunting (interlude) (0:57) 05. clipping. - La Mala Ordina (with The Rita) (feat. Elcamino & Benny The Butcher) (5:46) 06. clipping. - Club Down (with Sarah Bernat) (4:31) 07. clipping. - Prophecy (interlude) (1:12) 08. clipping. - Run for Your Life (feat. La Chat) (4:52) 09. clipping. - The Show (3:05) 10. clipping. - Posession (interlude) (2:11) 11. clipping. - All in Your Head (feat. Counterfeit Madison & Robyn Hood) (4:30) 12. clipping. - Blood of the Fang (4:40) 13. clipping. - Story 7 (3:40) 14. clipping. - Attunement (with Pedestrian Deposit) (4:47) 15. clipping. - Piano Burning (18:01) The 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 and creatively significant 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. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score the band samples on “Blood of the Fang.” From the opening “Intro,” Clipping summon an unsettling eeriness. Diggs sounds like he’s rapping through a drive-thru speaker about the bottom falling out, bodies hitting the floor, and recurrent ghosts. You hear ambient noises, footsteps and shovels. The hairs on your arms stick up like bayonets. You can practically see the knife’s edge, sharp and luminous. Each song contains its own premise and conceptual bent. There is “Nothing is Safe,” a reversal of Assault on Precinct 13, where the band create their own version of a John Carpenter-inspired rap beat and the cops are the ones raiding a trap house. Diggs sketches the narrative from the perspective of the victims, full of lurid and visceral details and intricate wordplay. The windows are boarded and sealed, the product simmers on the stove, the bodies sleep fitfully in shifts. Then law enforcement arrives and the bullets start to fly. “He Dead” turns police officers into werewolves while Diggs flips Kendrick Lamar’s “Riggamortis” into something gravely literal.“All In Your Head” finds Clipping re-contextualizing the pimp talk of Suga Free and Too $hort into a metaphor for an Exorcist-style possession. The album contains interludes featuring 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. In the hands of the less imaginative or less virtuosic, it could come off as overwrought or pretentious. Instead, Clipping annex new terrain for a sub-genre often left for dead. In its own way, one could compare what they’ve accomplished to Tarantino’s post-modern reworkings of critically overlooked but creatively fertile blaxploitation, horror and spaghetti western cinema. Everything 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, 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 & 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 it’s their latest masterwork that 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 horror-core 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. released October 18, 2019 2019 Sub Pop Records
Exact Audio Copy V1.3 from 2. September 2016 REM GENRE "Hip Hop" ----------------------- foobar2000 1.2.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - Nothing is Safe (4:52) 02. clipping. - He Dead (4:19) 03. clipping. - La mala ordina (5:27) 04. clipping. - Club Down (4:28) 05. clipping. - Run for Your Life (4:59) 06. clipping. - The Show (3:05) 07. clipping. - All in Your Head (4:29) 08. clipping. - Blood of the Fang (4:36) 09. clipping. - Story 7 (3:17) 10. clipping. - Attunement (4:38) 11. clipping. - Piano Burning (17:50) "Lamestain Edition" on "blood splattered" (clear with red splatter) vinyl. Housed in a triple gatefold jacket with an Obi, two printed inner sleeves and a download code. Omits track "Intro" and three interludes "Haunting", "Prophecy" and "Possession" found on digital and CD versions, due to the band wanting to mix the tracks louder on LP.
berhinger u-control uco202, audacity 16/48000 ----------------------- foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - The Deep (5:26) 02. clipping. - Aquacode Databreaks (feat. Shabazz Palaces) (4:01) 03. clipping. - Drownt (4:11) 04. clipping. - The Deep (Instrumental) (5:26) 05. clipping. - Aquacode Databreaks (Instrumental) (4:01) 06. clipping. - Drownt (Instrumental) (4:10) Experimental hip-hop group Clipping’s “The Deep” is a dark sci-fi tale about the underwater-dwelling descendants of African women thrown off slave ships, based on the mythology of Detroit electronic group Drexciya. 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. released November 29, 2019
foobar2000 1.2.5 / Замер динамического диапазона (DR) 1.1.1  Tracklist:01. clipping. - The Deep (5:26) 02. clipping. - Aquacode Databreaks (feat. Shabazz Palaces) (4:01) 03. clipping. - Drownt (4:05) 04. clipping. - The Deep (Instrumental) (5:26) 05. clipping. - Aquacode Databreaks (Instrumental) (4:01) 06. clipping. - Drownt (Instrumental) (4:06)
Transferred with a Technics SL-QD33 turntable with standard tonearm and an Audio Technica AT3482P stylus. Preamp is a BBE FJB-200X Phono Preamp. Recorded at 24 bit, 96 kHz via a Creative X-Fi USB soundcard in Soundforge 10. Sides normalized individually and then split into individual tracks. Minimal automated declicking performed via iZotope RX 4. Files then converted to FLAC level 8 and tagged in foobar. foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Chapter 319 (3:52) 02. clipping. - Knees on the Ground (4:35) On June 19, 2020, Bandcamp will donate its portion of all album sales to the NAACP Legal Defense Fund. On that day, Clipping will split its portion of all Bandcamp sales between the GoFundMe for George Floyd’s daughter (the Official Gianna Floyd Fund), People’s Breakfast Oakland, The Okra Project, and Afrorack. On all days thereafter, sales of these two tracks will be periodically collected and donated to organizations dedicated to racial justice. released June 19, 2020 “Chapter 319” (D. Diggs, W. Hutson, J. Snipes) Contains a sample of “Freestyle” by DJ Screw and Big Floyd. Mixed and mastered by Steve Kaplan. “Knees on the Ground” (D. Diggs, W. Hutson, J. Snipes) Mixed by Clipping. Mastered by Steve Kaplan. All music and lyrics by Clipping. Clipping are Daveed Diggs, William Hutson, and Jonathan Snipes. “Chapter 319” was composed and recorded in June, 2020. “Knees on the Ground” was composed and recorded in August, 2014, and previously released on Soundcloud. Cover photograph by Gabe Tiano
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. with Christopher Fleeger - Intro (2:06) 02. clipping. with Christopher Fleeger - Taking Off (3:45) 03. clipping. with Christopher Fleeger - Hi, Chris (1:05) 04. clipping. with Christopher Fleeger - Shooter (5:16) 05. clipping. with Christopher Fleeger - Baby Don't Sleep (3:26) 06. clipping. with Christopher Fleeger - Get Up (Backstage) (2:18) 07. clipping. with Christopher Fleeger - Air 'Em Out (4:21) 08. clipping. with Christopher Fleeger - Inside Out (2:34) 09. clipping. with Christopher Fleeger - Water (2:06) 10. clipping. with Christopher Fleeger - Work Work (3:29) 11. clipping. with Christopher Fleeger - Get Up (Motel) (2:58) 12. clipping. with Christopher Fleeger - Wriggle (4:39) 13. clipping. with Christopher Fleeger - Body & Blood (7:03) 14. clipping. with Christopher Fleeger - Get Up (Rookery) (3:57) 15. clipping. with Christopher Fleeger - Story and Story 2 (7:36) 16. clipping. with Christopher Fleeger - Metal (4:09) 17. clipping. with Christopher Fleeger - A Better Place (5:00) This is not a standard live album. All the audio was recorded during Clipping’s 2017 tour, but the microphones weren’t pointed at the band. Instead they were in toilets, taped to ceiling pipes, tied to trees, worn by roadies—hidden all over venues. The results were then synchronized and edited over more than a year. Double Live is an impossible performance heard by hundreds of disembodied ears—part live album, part tour document, part musique concrète piece. released June 20, 2020 © 2020 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Intro (2:20) 02. clipping. - Say the Name (5:00) 03. clipping. - Wytchboard (Interlude) (0:30) 04. clipping. - '96 Neve Campbell (feat. Cam & China) (3:21) 05. clipping. - Something Underneath (2:36) 06. clipping. - Make Them Dead (4:06) 07. clipping. - She Bad (3:27) 08. clipping. - Invocation (Interlude) [with Greg Stuart] (1:13) 09. clipping. - Pain Everyday (with Michael Esposito) (3:39) 10. clipping. - Check the Lock (3:37) 11. clipping. - Looking Like Meat (feat. Ho99o9) (3:30) 12. clipping. - Drove (Interlude) (0:52) 13. clipping. - Eaten Alive (with Jeff Parker & Ted Byrnes) (5:41) 14. clipping. - Body for the Pile (with Sickness) (4:25) 15. clipping. - Enlacing (4:43) 16. clipping. - Secret Piece (3:41) In the horror genre, sequels are perfunctory. 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. Visions 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. In the years following Splendor & Misery—the band’s acclaimed dystopian science fiction-rap epic—they simply made too many songs for one album. 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. Visions 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 are never critical of their cultural references. Their 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. There’s a well-worn adage in film scholarship that says: Every era gets the monster it deserves—meaning during each period of history, different monsters come to embody the specific sociopolitical anxieties of the time: Bela Lugosi’s Dracula and antisemitism, Godzilla and the atom bomb, Invasion of the Body Snatchers and McCarthyism, Anne Rice’s vampires and the AIDS crisis. While these figures are largely reactionary, Clipping intentionally recast their figures of monstrosity through the lens of an antiracist, antipatriarchal, anticolonial politics to address the struggles of our current era. The album’s first single, “Say the Name,” transforms Scarface’s evocative lyric from “Mind Playing Tricks on Me”—“Candlesticks in the dark, visions of bodies being burned”—into a screwed-down Chicago ghetto house loop, mixing together a palette of inspirations from 90s industrial music to a certain mirror-bound, bee-keeping, hook-handed former-slave/urban legend. The second single, “’96 Neve Campbell” is a tribute to the self-aware “final girl” character of the post-slasher film cycle, featuring Inglewood’s Cam & China, who prove they do more than survive the masked killer—they preemptive-strike his ass. The band also connected with fellow noise-rap pioneers Ho99o9 for the song “Looking Like Meat,” which more closely resembles the full-on sonic assault of Clipping’s first album, Midcity, than any of their music since. Among Clipping’s peers, Ho99o9 reveal themselves to be the perfect collaborators to fit into the album’s thematic world. Eaddy and theOGM deliver the most unhinged, viscerally alarming moment on the entire record. Each track pairs a different expression of horror with one of Clipping’s signature metamorphic takes on a hip-hop subgenre. “Eaten Alive” pays tribute to the Tobe Hooper film of the same name, aping the swampy drag of No Limit and their ilk over a jagged jazz-rap instrumental featuring Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. “Enlacing” posits Lovecraftian cosmic terror as the result of a psychedelic drift into nothingness, played as a smeary, cloud rap haze. “Pain Everyday” uses real EVP recordings—said to be the voices of restless spirits—atop a cinematic, Venetian Snares-like breakcore collage, as a call-to-arms for the ghosts of lynching victims to haunt the white descendants of their murderers. And “Check the Lock” is a spiritual sequel to Seagram’s classic track “Sleepin in My Nikes,” describing a drug kingpin’s paranoid descent into madness. While There Existed an Addiction to Blood ended in an all-cleansing fire, Visions of Bodies Being Burned concludes with the break of dawn in a forest, providing the false hope that those who have survived the horror thus far might just be safe for good. 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. Since 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 leftist 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. For 2020’s Record Store Day, Clipping released Double Live, a collaboration with sound artist Christopher Fleeger. All the audio was recorded during Clipping’s 2017 tour opening for the Flaming Lips, but the microphones weren’t pointed at the band. Instead, mics were placed in toilets, taped to ceiling pipes, tied to trees, worn by roadies, hidden all over venues. The results were then synchronized and edited over more than a year. Double Live is perhaps more a musique concrète experiment than a traditional live album. On the Tonight Show, Jimmy Fallon said it sounded “Weird.” In his “Album of the Week” review for Stereogum, Tom Breihan described There Existed an Addiction to Blood as “cold, confrontational music, even when it slaps, which it often does.” Visions of Bodies Being Burned slaps even more often than its predecessor, although perhaps the only club it will do so in will be the burnt-out, radiation-poisoned rave of some science fiction dystopia. Their new album finds Clipping building upon the language of their already-revolutionary music, while still making the trunk rattle on dilapidated hearses and demon-possessed Plymouth Furys. Never, ever, under any circumstances, assume the killer is dead. released October 23, 2020 2020 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Intro (2:20) 02. clipping. - Say the Name (5:00) 03. clipping. - Wytchboard (interlude) (0:30) 04. clipping. - '96 Neve Campbell (featuring Cam & China) (3:21) 05. clipping. - Something Underneath (2:36) 06. clipping. - Make Them Dead (4:06) 07. clipping. - She Bad (3:27) 08. clipping. - Invocation (interlude) (with Greg Stuart) (1:13) 09. clipping. - Pain Everyday (with Michael Esposito) (3:39) 10. clipping. - Check the Lock (3:37) 11. clipping. - Looking Like Meat (featuring Ho99o9) (3:30) 12. clipping. - Drove (interlude) (0:52) 13. clipping. - Eaten Alive (with Ted Byrnes & Jeff Parker) (5:41) 14. clipping. - Body for the Pile (with Sickness) (4:25) 15. clipping. - Enlacing (4:43) 16. clipping. - Secret Piece (composed by Yoko Ono) (3:45) Art Direction, Design – Clipping., Cristina Bercovitz Mastered By – Rashad Becker Mixed By [All Songs Mixed By] – Steve Kaplan Music By [All Music By], Lyrics By [All Lyrics By] – Clipping (tracks: 1 to 15) Photography By [Polaroids By] – Myra Dingley 6-panel digisleeve with an orange inner disc sleeve and a spine card [Spine Card] Sup Pop presents Visions Of Bodies Being Burned An album by Clipping. © & ℗ 2020 Sub Pop Records. [Disc Sleeve] Track 1. Contains a sample of "Seance" composed by Greh Holger (BMI) and performed by Black Sand Desert (Chimera, 2004). Track 2. Contains an interpolation of "Mind Playing Tricks on Me" written by Brad Jordan, Doug King, William Dennis, and Isaac Hayes, and performed by the Geto Boys. Published by Irving Music, Inc. (BMI) and Incense Prod., Inc. (BMI), N-The-Water Publishing, Inc. (ASCAP). All rights on behalf of N-The-Water Publishing, Inc. (ASCAP) administered by WC Music Corp (ASCAP). Track 11. Additional vocals and lyrics by theOGM (published by Bluface, administered by Tunes Of Big Deal Music, SESAC) and Eaddy (published by Shadowlaw and administered by Tunes Of Big Deal Music, SESAC). Track 14. Originally released on N O I S E, compiled by [adult swim] in 2016. Track 15. Contains a sample of "Enlacing" composed by Kyle Parker (Not Today, SESAC) and performed by Infinite Body (self-released, 2012). Visions of Bodies Being Burned was composed and recorded between 2015 and 2020 in Los Angeles, CA and New York, NY. All music and lyrics (Clipping Audio, BMI), except Track 16 (published by ONO Music and administered by Downtown DMP Songs, BMI). Special thanks to Lauren Fields and Priscila Garcia-Jacquier. © & ℗ 2020 Sub Pop Records.
Exact Audio Copy V1.3 from 2. September 2016 REM DATE 2020 ----------------------- foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Intro (0:53) 02. clipping. - Shooter (3:29) 03. clipping. - Back Up 2021 (feat. Debby Friday & SB The Moor) (4:00) 04. clipping. - Wriggle (4:04) 05. clipping. - Hot Fuck No Love (feat. Cakes da Killa & Maxi Wild) (3:32) 06. clipping. - Our Time (feat. Nailah Middleton) (4:16) 07. clipping. - Wriggle (Homemade Weapons Remix) (4:17) 08. clipping. - Back Up (Dave Quam Remix) (3:29) 09. clipping. - Shooter (Jana Rush's Face Rearranged Remix) (4:58) 10. clipping. - Wriggle (Cardopusher's EBM Remix) (5:18) The 2021 edition of Wriggle features new artwork, guests, and previously unreleased remixes. Included are the original versions of the title track, “Shooter,” “Hot Fuck No Love” (Feat. Cakes Da Killa & Maxi Wild), “Our Time” (Feat. Nailah Middleton), along with “Back Up 2021” featuring SB The Moor and a new verse from industrial-rap experimentalist Debby Friday. Wriggle also features remixes of the title track from Drum & Bass/Breakbeat act Homemade Weapons and Classicworks label co-founder Cardopusher, a rework of “Back Up” by Fade To Mind producer Dave Quam (formerly Massacooramaan), and Chicago footwork producer Jana Rush delivers both the “Hot Fuck No Love (Naughty Bitch Remix)” for the vinyl version, and “Shooter (Face Rearranged Remix)” for the digital release. The original, digital-only Wriggle was six tracks that weren’t finished in time to make it onto the group’s 2014 Sub Pop debut, CLPPNG. For “Shooter,” Clipping recorded themselves firing fifteen different 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. released May 12, 2021
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - nothing is safe (remx) (4:44) 02. clipping. - drop low (3:27) 03. clipping. - get mine (4:10) 04. clipping. - drop that (3:54) CLBBNG features four remixes including “Nothing Is Safe,” from There Existed An Addiction To Blood, the group’s horrorcore album of 2019, which has a dance remix, and an instrumental rework (titled "Drop Low"); Meanwhile, remixes of “Get Up” (titled “Get Mine”), and “Dominoes” (titled “Drop That”) from CLPPNG, the group’s Sub Pop debut of 2014, round out the tracklisting. Clipping has wanted to make a record of dance remixes for some time, and inspiration struck when they performed what has to be the all time tiniest desk concert (see for yourself!) for NPR Music’s Tiny Desk Concert. Jonathan Snipes elaborated further, “I had come up with the name CLBBNG mostly as a joke when we made the first album for Sub Pop (titled CLPPNG). I made a couple of remixes back then (none of the tracks released in this volume), but some combination of losing interest and getting distracted by other projects meant that we didn't release them at the time. When we recorded drums with Chukwudi Hodge for "Say the Name" in 2019, we also had him play a four-on-the-floor disco beat over the top of the "Nothing is Safe" instrumental with the idea that someday we'd make a sprawling dark-disco Moroder-esque version of the song. When we were asked to do "Tiny Desk" I thought maybe it was the time to finally make that track. Soon after we were asked to do another virtual performance inside Minecraft, and I thought it would be fun to make more dance remixes and create an entire "CLBBNG" club/rave set. It's versions of these edits and remixes that have made it on to this, the first CLBBNG EP. I have a deep love and appreciation for dance music, and I relish any excuse to make it myself. It's a lot of fun to bring those sensibilities to clipping songs, and I'm excited to continue making CLBBNG releases in the future.” Additionally, four of Clipping’s songs, including the “Nothing Is Safe” remix, are being featured on a new app developed with Modify Music which also launches today on iOS and Android app stores. This is a real time mixing app, that has each song separated into four “stems” that can be mixed on the fly. Alongside the original stems, the listener will have the option to switch out and mix in alternative stems that Jonathan Snipes produced just for the app. The app can be found here: modifymusic.com/artists/clipping/ released July 22, 2022 © 2022 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. and Cheryl E. Leonard - Part of Dust (7:00) 02. clipping. and Lauren Bousfield - Bastards (2:00) 03. clipping. - He Dead (Oil Thief Remix) (5:26) 04. clipping. and Bogdan Raczynski - 96 Neve Campbell (https://bogdanraczynski.com/clpng-96-remix/) (3:50) 05. clipping. and Evicshen - Sheba (2:57) 06. clipping. feat. Loraine James - Nothing Is Safe (Loraine James Remix) (4:04) 07. clipping. - Say the Name (TENGGER Remix) (5:07) Just in time for Halloween, Clipping have announced a quartet of EPs featuring remixes of tracks from the band’s Horrorcore-themed albums, There Existed an Addiction to Blood and Visions of Bodies Being Burned. Each EP showcases remixers hand-picked by Clipping to slash, mangle, and brutalize the band’s music into all-new, exquisitely macabre, creations. REMXNG 2.1 begins with “Part of Dust” by Bay Area composer and field-recordist Cheryl E. Leonard. The piece is ostensibly a remix of Clipping’s collaboration with Pedestrian Deposit, “Attunement,” although it is largely constructed from original recordings by Leonard, including: wind in the attic of Kunstnarhuset Messen in Norway; a flute made of kelp played by Leonard herself; the Golden Gate Bridge howling in the wind; baby northern elephant seals in Point Reyes; a bowed wooden fence, and a metal door played with rocks; Cranes and geese in Staten Island, California; Balloons in a tunnel in Butte, Montana; and a boat ramp in Ny-Ålesund, Svalbard. Next comes “Bastards,” by frequent Clipping collaborator Lauren Bousfield, whose virtuosic scrambling of “Pain Everyday” becomes a cinematic, carnivalesque nightmare. Oil Thief pummels “He Dead” into a pitch-dark industrial trudge, and IDM trailblazer Bogdan Raczynski’s “’96 Neve Campbell (bogdanraczynski.com/clpng-96-remix/)” (the official title of which contains a working hyperlink) is a cartoonish, elastic transformation of the source material. “Sheba” is Clipping’s upcoming tour mate Evicshen’s blown-out noise interpretation of “She Bad,” which is followed by a characteristically jittery, off-kilter chop of “Nothing Is Safe” by London producer Loraine James. The EP closes with an ambient performance of “Say The Name” by traveling musical family Tengger that excerpts one melody from the original song’s instrumental outro, and stretches it into an ecstatic, hypnotic loop. REMXNG 2.1 is the first of four such EPs. released September 21, 2022 © 2022 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - 96 Nerve Campbell (Rian Treanor Remix) (4:33) 02. clipping., James Acaster and John Dieterich - He Is Dead and She is Bad (Party Gator Remix) (4:51) 03. clipping. - Run For Your Life (Baseck Remix) (5:43) 04. clipping. - Attunement (Fire-Toolz - Atonement Remix) (5:42) 05. clipping. - Make Them Dead (ZULI's Life After Death Remix) (4:25) 06. clipping. - Something Underneath (Akeyamasou Remix) (2:09) 07. clipping. - She Bad (David Rothbaum Remix) (1:52) REMXNG 2.2 leads with UK producer Rian Treanor’s jagged, stuttering edit of “‘96 Neve Campbell.” Treanor blends underground dance music genres with the techniques of musique concrète, and computer music, slicing the slasher-themed track into a collage of stabbing jump-scares. James Acaster (who happens to also be one of the band’s favorite comedians) collaborated with Deerhoof’s John Diederich on a mash up of the band’s “She Bad” and “He Dead,” which is followed by a synth freak-out rework of “Run for Your Life” by Baseck (who frequently appears as a turntablist on Clipping albums). Next is Fire-Toolz’s hyperactive neon glitch symphony of “Attunement.” Egyptian producer ZULI gives “Make Them Dead” a crushingly heavy Drum & Bass flip, and akeyamasou’s mysterious “Something Underneath” remix atomizes its source into a dense cloud of IDM haze. The EP closes with a miniature for modular synthesizer and sampler by David Rothbaum—another frequent Clipping collaborator. released September 28, 2022 © 2022 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Attunement (Blectum from Blechdom Remix) (4:05) 02. clipping. & Ian Little - He Dead (Stay Alive At All Costs) (5:09) 03. clipping. - 96 Neve Campbell (Rrose Remix) (4:24) 04. clipping. - Blood of the Fang (Wobbly - Not Guilty Remix) (3:22) 05. clipping. - Say The Name (Stazma's Driller Bees Remix) (5:00) 06. clipping. - Say the Name [_] Something Underneath (Speaker Music - Longsuffering Remix) (6:36) 07. clipping. - Eaten Alive (Thomas Dimuzio Remix) (6:13) REMXNG 2.3 opens with a frenetic, surreal vocal interpretation of “Attunement” by the legendary (and only recently reunited) duo Blectum From Blechdom, followed by and old-school Industrial-inspired “He Dead” by former Duran Duran and Roxy Music producer, Ian Little. Minimal techno experimentalist Rrose’s remix of “‘96 Neve Campbell” features a stuttering, rubbery bounce, and Wobbly (member of Negativland) mangles “Blood of the Fang” into a overstuffed, plunderphonic collage. Stazma’s “Say The Name” is a virtuosic Jungle chop, while Speaker Music’s DeForrest Brown Jr. stretches “Say the Name” and “Something Underneath” into syncopated techno abstraction. The EP closes with a woozy, apocalyptic “Eaten Alive” by Thomas Dimuzio, who also contributed his talents as a mastering artist to the series of EPs. released October 5, 2022 © 2022 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. & Carl Stone - Citadel Bod Doodt (7:40) 02. clipping. & Slikback - A clipping. Story (3:53) 03. clipping. - Run For Your Life (Lexagon Remix) (3:48) 04. clipping. - Something Underneath (Patric Catani Remix) (2:20) 05. clipping. - All In Your Head (Schwefelgelb Remix) (5:12) 06. clipping. - Looking Like Meat (Aho Ssan Remix) (5:30) 07. clipping. & Coolong Prongs - Down (6:06) For the fourth installment of the series, electro-acoustic pioneer Carl Stone leads with “Citadel Bod Doodt,” a composition based around a creaky loop from Clipping’s “She Bad” that evolves into a tangled knot of chopped-up vocals. “A Clipping Story” showcases prolific Kenyan experimentalist Slikback, who edits multiple Clipping songs into a frenetic collage of overlapping rhythms. Oakland’s Lexagon disassembles “Run For Your Life” into bouncy, disjointed loops, and Patric Catani’s “Something Underneath” amplifies the original’s science fictional atmosphere into a heavy cavernous trudge. Berlin duo Schwefelgelb transform “All In Your Head” into dancefloor-ready dark techno, and Paris-based musique concrète composer Aho Ssan processes “Looking Like Meat” into a droning digital smear. REMXNG 2.4 closes with “Down” by Cooling Prongs (frequent Clipping collaborator Christopher Fleeger), which interpolates melodic vocal snippets from multiple songs and weaves them into a demented operatic choir. released October 12, 2022 © 2022 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. Mandy, Indiana + clipping. - Sheared (Pinking Shears Rework) (3:12) 02. Mandy, Indiana - Pinking Shears (2:32) 03. Mandy, Indiana - Pinking Shears (Instrumental) (2:30) “Sheared (Pinking Shears Rework) is the new single from Mandy, Indiana available digitally as well as physically as an official Rough Trade 12”. One of Rough Trade’s Top 20 Albums of the Year, ‘i’ve seen a way’ “fuses dance rhythms, corroded guitars, and seething vocals into a transfixing blend” (Pitchfork BNM), and the new remix featuring clipping.’s deconstructed experimental rap imbues a slickly accessible club readiness to the track without losing any of the band's edge. released November 14, 2023
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Tipsy (3:51) 02. Cooling Prongs - Midnight (5:21) This new split single by Clipping and Cooling Prongs features Clipping’s noise-infused remake of J-Kwon’s 2004 hit “Tipsy” on the A side, and a harrowing ambient noise track by Cooling Prongs on the B side. released February 20, 2024 © 2024 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Run It (4:59) “Run It” was written and produced by Clipping, mixed by Steve Kaplan, and mastered by Levi Seitz at Blackbelt Mastering. “Run It” is from Clipping’s forthcoming new album, a long-in-the-works Hip-Hop and Cyberpunk project, due worldwide from Sub Pop in 2025. released September 12, 2024 © 2024 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Keep Pushing (3:47) Apropos of nothing, this track is about needing to still hustle to stay alive, even while the world is ending. Written and produced by Clipping, mixed by Steve Kaplan, mastered by Levi Seitz. released November 12, 2024 © 2024 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Welcome Home Warrior (feat. Aesop Rock) (3:43) 
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Intro (0:51) 02. clipping. - Dominator (2:32) 03. clipping. - Change the Channel (2:16) 04. clipping. - Run It (4:59) 05. clipping. - Go (1:15) 06. clipping. - Simple Degradation (Plucks 1-13) (with Bitpanic) (1:37) 07. clipping. - Code (3:23) 08. clipping. - Dodger (4:08) 09. clipping. - Malleus (with Nels Cline) (1:56) 10. clipping. - Scams (feat. Tia Nomore) (3:41) 11. clipping. - Keep Pushing (3:47) 12. clipping. - "From Bright Bodies" (Interlude) (0:47) 13. clipping. - Mood Organ (1:41) 14. clipping. - Polaroids (4:03) 15. clipping. - Simple Degradation (Plucks 14-18) (with Bitpanic) (1:43) 16. clipping. - Madcap (1:33) 17. clipping. - Mirrorshades pt. 2 (feat. Cartel Madras) (4:11) 18. clipping. - "And You Called" (Interlude) (0:42) 19. clipping. - Welcome Home Warrior (feat. Aesop Rock) (3:43) 20. clipping. - Ask What Happened (4:51) Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping “Deathrow Tull.” Well, it’s not a joke anymore. While their last few projects have been record-long concepts like the classic prog rock of old, Dead Channel Sky is mixtape-like, a carefully curated collection of songs in which every track is a love letter to a possible present. Like a mashup of distinct elements, the overall concept is there, but the result is brief glimpses into a world rather than an overview of it. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it’s a reminder of how slipshod our present moment truly is. In my book Dead Precedents: How Hip-Hop Defines the Future, I draw what Walter Benjamin would call correspondences between early hip-hop culture and cyberpunk literature, the binary stars of the solar system at the end of the millennium. I exploit their similarities to illustrate how the cultural practices of hip-hop have informed the cultural practices of the now. Hip-hop was borne of the post-apocalyptic scene in the South Bronx in the early 1970s. Its repurposing of outmoded technology, the hand-styled hieroglyphic screennames on every colorfast surface, and the gyrating dance moves—an entire culture forged from the freshest of what was available at hand—mirrors the post-apocalyptic techno-scrounge of William Gibson’s Neuromancer, Rudy Rucker’s Software, and other early works by the contributors to Bruce Sterling’s Mirrorshades anthology (Pat Cadigan, John Shirley, Lewis Shiner, and Sterling himself, among others). Add the leather-clad mohawks of Afrika Bambaataa and the Soulsonic Force or Rammellzee’s B-boy battle armor and a blend of the two comes further into focus. Juxtaposing high-tech, corporate command-and-control systems (the “cyber”) with the lo-fi, D.I.Y. underground (the “punk”), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. There are works before and works since that embody the visions and values of cyberpunk, but these dates act as rough parameters for their assimilation into the larger social sphere, for the time it took cyberpunk to become cyberculture. In the meantime, hip-hop matured, went through its Golden Era, then melted into further forms. Over the same decades, it went from “Planet Rock” to “Bring da Ruckus” to “Hard Knock Life,” from Fab 5 Freddy to Public Enemy to Missy Elliott, from Run-DMC to N.W.A. to Notorious B.I.G. While other genres flirted with it, hip-hop was fickle and fey. Any tryst with the odd bedfellow was a one-night stand at best. Rap and rock birthed mutant offspring maligned by most, and hip-hop’s relations with electronica rarely fared any better. Those twin suns—hip-hop and cyberpunk—both rose in the 1970s and warmed the wider world during the 1980s and 1990s. What if someone explicitly merged them into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that’s long since moved on. On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle, are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat—the detritus of a different timeline, the survivors of armed audio warfare. That war at thirty-three and a third, its atrocities imprinted upon yet another generation, what someone once called, “the presence of the significance of things” without a hint of ambiguity. Clipping are very story oriented. They deal in ontology and narrative as much as beats and rhymes. They’ve been approaching making music like writing science fiction since the band’s conception. Two of their records have been nominated for Hugo Awards (one of science fiction’s top literary prizes), and a novella spun-off from their music was nominated for a third. As Clipping, they’ve collaborated with as many of their fellow experimental noise artists as they have fellow rappers. Here those co-conspirators include everyone from the guitarist Nels Cline on the outro to “Dodger” (titled “Malleus”) to their labelmates Cartel Madras on “Mirrorshades, pt. 2,” rapper/actor Tia Nomore on “Scams,”as well the wordy wordsmith Aesop Rock on “Welcome Home Warrior.” Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. On “Code,” they sample narrated memories from the Afrofuturist documentary The Last Angel of History; and on “Dominator,” they repurpose a line from the classic Dutch hardcore track “Dominator” by Human Resource. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it’ll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting “Change the Channel”: Everything is very important! released March 14, 2025 © 2025 Sub Pop Records
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:00. clipping. - HTOA (2:26) 01. clipping. - Intro (0:51) 02. clipping. - Dominator (2:31) 03. clipping. - Change The Channel (2:16) 04. clipping. - Run It (4:56) 05. clipping. - Go (1:07) 06. clipping. - Simple Degradation (Plucks 1-13) (with Bitpanic) (1:36) 07. clipping. - Code (3:23) 08. clipping. - Dodger (4:06) 09. clipping. - Malleus (with Nels Cline) (1:56) 10. clipping. - Scams (ft. Tia Nomore) (3:40) 11. clipping. - KeepPushing (3:49) 12. clipping. - From Bright Bodies (Interlude) (0:46) 13. clipping. - Mood Organ (1:41) 14. clipping. - Polaroids (4:03) 15. clipping. - Simple Degradation (Plucks 14-18) (with Bitpanic) (1:43) 16. clipping. - Madcap (1:33) 17. clipping. - Mirrorshades pt. 2 (ft. Cartel Madras) (4:10) 18. clipping. - And You Called (Interlude) (0:42) 19. clipping. - Welcome Home Warrior (ft. Aesop Rock) (3:42) 20. clipping. - Ask What Happened (4:52) Band [Clipping Are] – Daveed Diggs, Jonathan Snipes, William Hutson Design, Art Direction – Ian Anderson, The Designers Republic™ Ensemble [Bitpanic Are] – Casey Anderson, Clay Chaplin, David Praha, Scott Cazan, Stephanie Cheng Smith Mastered By – Levi Seitz Mixed By – Steve Kaplan (tracks: 0 to 5, 7 to 11, 13, 14, 16, 17, 19, 20) Producer [Produced By] – clipping. Track 0 is in the pregap found when rewinding from track 1. A tool like EAC can extract this on a computer's optical drive. Track 2 contains a sample of "Dominator," written by Johan van Beek and Robert Muha (sic) performed by Human Resource. Courtesy of Armada Music B.V. Tracks 6 and 15 composed by Mark Trayle in 1987 for The Hub. Track 7 contains a sample of "The Last Angel Of History" (1996), a film directed by John Akomphra written by Edward George, used courtesy of Smoking Dog Films. Produced 2019-2024.
Exact Audio Copy V1.3 from 2. September 2016 REM DATE 2025 ----------------------- foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Night of Heaven (feat. Counterfeit Madison & Kid Koala) (3:51)
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Forever War (3:57)
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Tracklist:01. clipping. - Intro (0:51) 02. clipping. - Dominator (2:32) 03. clipping. - Change the Channel (2:16) 04. clipping. - Run It (4:59) 05. clipping. - Go (1:15) 06. clipping. - Simple Degradation (Plucks 1-13) (with Bitpanic) (1:37) 07. clipping. - Code (3:23) 08. clipping. - Dodger (4:08) 09. clipping. - Malleus (with Nels Cline) (1:56) 10. clipping. - Mirrorshades pt. 1 (4:08) 11. clipping. - Scams (feat. Tia Nomore) (3:41) 12. clipping. - Keep Pushing (3:47) 13. clipping. - "From Bright Bodies" (Interlude) (0:47) 14. clipping. - Mood Organ (1:41) 15. clipping. - Forever War (3:57) 16. clipping. - Polaroids (4:03) 17. clipping. - Simple Degradation (Plucks 14-18) (with Bitpanic) (1:43) 18. clipping. - Madcap (1:33) 19. clipping. - Mirrorshades pt. 2 (feat. Cartel Madras) (4:11) 20. clipping. - "And You Called" (Interlude) (0:42) 21. clipping. - Hard-Eyes (1:16) 22. clipping. - Night of Heaven (feat. Counterfeit Madison & Kid Koala) (3:51) 23. clipping. - Welcome Home Warrior (feat. Aesop Rock) (3:43) 24. clipping. - Ask What Happened (4:51) Dead Channel Sky Plus expands and reorders the original 20-song sequence. The album is now 24 tracks long and includes the new songs “Night of Heaven (feat. Counterfeit Madison and Kid Koala),” “Forever War,” “Hard-Eyes,” and current live fan favorite “Mirrorshades, Pt. 1.” Dead Channel Sky Plus was produced and mixed by Clipping and Steve Kaplan and mastered by Levi Seitz at Black Belt Mastering. released September 19, 2025 © 2025 Sub Pop Records
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