For a while the songwriter was recording as H | p s (and Hips Like Cinderella before that) recording scuzzy, fuzzed-out pop jams. His style found itself spiraling down into a blown-out abyss until he disappeared for a while before resurfacing as Slug Christ, the trap-beat-loving rapper with a love for the profane and sacrilegious. Keith Ape, on the other hand, did sort of come out of nowhere. The Korean rapper landed with a spark earlier this year following his OG Maco referencing hit “ 잊지마 (It G Ma)” that saw him and his “underwater squad” bringing the straight fire melding Korean and Japanese hip-hop under one bonkers roof. Now it seems that these two maybe not-so-unlikely forces have joined up for “Honja.” If you’re familiar with the work of either of these two, then you’ll probably have an idea of where the track will go, but that doesn’t mean the ride isn’t worth taking. “Body and Blood” is an interesting choice for clipping.‘s second single from their upcoming debut, CLPPNG. Whereas the album’s first single “ Work Work” was a laid-back drive through the city, “Body and Blood” is an in-your-face tale of sex and violence. We are talking about, so there is a lot under the surface to consider when sifting through the dark lyrics. Opening with “Cleavers up, bring ’em here.
Statistically, the vast majority of serial killers and sexual predators are male, but clipping.įemurs all swing on the ceiling like a chandelier,” Daveed Diggs’ dark lyrics about a serial killer on the prowl could potentially be mistaken for something akin to horrorcore, but as the story unfolds, the meaning behind the macabre starts to become clearer with each line. spin a tale about a woman who refuses to be prey by becoming the predator herself. Metaphors of cannibalism, vampirism, and torture are rampant over Jonathan Snipes’ and William Hutson’s relentless industrial production, which serves to make things feel all the more urgent. If this is clipping.’s take on a feminist anthem, it’s certainly a dark one, but its graphic lyrics cut right to the heart of the issue by turning genre expectations on their head. A thorough listen will really make you think… as long as the squeal of power tools in the background don’t scare you away first.ĭepending on how entrenched you are in the Deathbomb Arc scene, you may or may not be surprised upon hearing the opening verse of True Neutral Crew‘s “Modern Art,” the opening track from the group’s upcoming sophomore EP #POPPUNK. The label supergroup, who up until now has featured Brian Miller (of Foot Village), Daveed Diggs (of clipping.) and Margot Padilla (a.k.a. I.E.), has recently added a permanent fourth member in the form of Signor Benedick the Moor. And since we here are pretty pleased with Signor Benedick’s underrated work as a whole, it’s a nice little surprise to hear him ripping into the track with his typically verbose furor. Of course, this is just the intro on a complete mindfuck of a song that later features verses by Diggs and Miller. In these verses we hear them spew biting but hilarious words on the state of modern art on top of some noisy, but rather melodic, surf-rocking production.
It all adds up to a violent vomiting of many ideas that, while busy and frenetic, is very much True Neutral.Ĭonversations is an interview series in which we discuss a specific component of an artist’s work. In this edition, George Awwad chats with the basement R&B duo Abhi//Dijon about their creative process, their primary influences, their thoughts on Kanye West, and more. What were some of your earliest memories together?ĭijon: Well, Abhi was in bands back in freshman year of high school. I didn’t do music stuff.Ībhi: I remember Dijon would play Rock Band and I was like, “This dude can really sing the Strokes really well.” That was probably one of the earliest memories.