Clipse Album Review: Let God Sort Em Out is Divine Rap

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 near 13 year hiatus. Hip-hop fans who appreciate thoughtful, dramatic rhymes all 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 perfected 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 the 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, art as distinct, sonics as objects. Sounds here are structured, weighty, refine the edges of bars from Clipse brothers. Pharrell hasn’t lost his touch as a producer either, prioritizing obsessively simplistic but full drum patterns, gospel choir accents, dramatic horns, synths, and strings, all to encapsulate the urgent desperation and starvation for blood that Clipse set out to unleash on tracks like “Ace Trumpets.” 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 acappella vocals from Malice..

…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 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 hears Stove God Cook’s hook on “FICO” as a nice melodic break from the darker undertones dominating the first half of the album. Also, I’m not 100% certain, but it sounds like Pusha T and Malice’s voices have an interesting difference in quality on the mix on “FICO.” Pusha T sounds more punchy and dry, whereas Malice seems to have a more flattened or airy vocal mix. Just an observation. Makes me curious about the method of recording some of these vocals, which I imagine, as they’ve alluded to in interviews, was very stripped down in setup.

The album is great. Intentional, masterful lyrics from Clipse. Pharrell’s locked in on production that is not just enjoyable but is easily distinguishable from all other recent releases within the genre. This album is an amalgamation of everything incredible from the last 20 years of hip-hop, with all excess fat removed. 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 an incredible way to end Let God Sort Em Out.

Verdict: 8/10