Deathbomb Arc

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The Waxwork label, dedicated to re-issuing classic horror soundtracks on vinyl, is making the move into contemporary scores starting with Jonathan Snipes’ music for the film ‘Starry Eyes’. No release date is set yet, but they have posted two tracks from it you can hear right now. Both are darker in tone than his collaborative score to ‘Room 237’ w/ fellow clipping. cohort William Hutson. Still, this work centers around animated synth worth and huge waves of moody atmospherics (portions of the “End Credits” track will certainly satisfy fans of Snipes’ old band Captain Ahab as well).

clipping. on Deathbomb Arc.
Captain Ahab on Deathbomb Arc.


”.//End” - Signor Benedick the Moor

Seriously up there in my top 10 songs of 2013, this dude has some serious talent and the entire album this song is from was recorded in his bedroom. Definitely watch out for this guy in the coming years. He’s going places.

We couldn’t agree more! Make sure to pick up a copy of his cd ‘El Negro’ today!

Signor Benedick The Moor on Deathbomb Arc.

Thanks for sharing this Foot Village classic from ‘Make Memories’, shittyinternetpit! The title of the track embodies the absurd, contradictory “positive” messages our culture feeds us. Unlike a great deal of music labeled as political, Foot Village was less about directly labeling specific things as villainous, as more to bring up questions for deeper contemplation after the music is done. Not a call to arms, but a call to thought.

Foot Village on Deathbomb Arc.


Much as with the release of their debut album, ‘midicity’, clipping. have found themselves yet again receiving extremely polarized reactions to their new album ‘CLPPNG’. This polarization, both among audiences and the press, seems to have an extra urgency (at times almost feeling like an irrational panic) this time around. Impose makes a compelling postulation that this escalated polarization may be related to ‘the quick ascension’ of the band into very wide popularity. A statement that could explain perceptions of clipping. sometimes as saviors, sometimes as threat. Regardless, the article does a good job of showing that two common criticisms of ‘CLPPNG’ are wildly unfounded: The album is neither lazy nor disrespectful towards rap as a genre.

In addition to reading this very thoughtful piece, I’d also recommend going back and visiting The Stranger’s three part article (part 1 here) on Deathbomb Arc from earlier this year, which focuses on a related but inverted issue: Authenticity. The Stranger’s piece discusses our perception of authenticity as a crutch and obstacle in the way of true innovation. The Impose piece, on the other hand, implies that clipping. are authentically a rap group. Most labels would probably never bring both of these up at the same time for fear of seeming hypocritical. You probably know by now that Deathbomb Arc is not most labels though. I think it is genuinely exciting to see contemplate issues like this, and I’m not afraid of dangerous ideas in the name of deeper discussion in music beyond the typical “hey look, this band is cool, if you want to be cool too, spend money!” For me, what I think this evolution of think pieces shows is that freedom from authenticity isn’t a one way road. One is free to explore art in new ways without worrying about rules, but also one is able to show sincere reverence for the art that came beforehand in a manner that is most flattering: with one’s own true unique voice. Would love to hear what YOU think though. 

clipping. on Deathbomb Arc.