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This new track from clipping. comes along with a description from William Hutson of the group that trumps anything we could say:

Our new track “Knees On The Ground” might benefit from an explanation. This is the most unguarded I ever intend to be when writing about Clipping.

What had happened was this: our very brief UK/Europe trip got called-off the day before we were supposed to get on a plane to London. Since we didn’t have any other plans, we met up in the studio with an idea to crank out a new track. On our list of songs to finish was one particular piece aimed directly at the club (or, at least, our twisted idea of what clubs should play). But none of us were in the mood for it. Each of us had spent the previous several days following the news of protests in Ferguson, MO. It was the only thing on our minds. We couldn’t bring ourselves to think about anything else, so we decided to direct our fear, our revulsion, our heartbreak into a new track.

The problem was that we’d defined our band — in interviews and to each other — as decidedly-not-an-activist-project. Diggs’s lyrics have been criticized for seeming apolitical, at least in comparison to what many listeners (perhaps rightly) expect to hear from an ‘experimental’ rap group. I have many times said (perhaps naïvely) that our politics lie in our structures, in our formal engagement with the rap genre. We love its conventions, its clichés, and we’re not above them. We see our participation in rap as something resembling an old punk flyer — an out-of-context collage of charged images with an fractured, contradictory, multiple point-of-view. I hope that our more dedicated listeners hear this and understand that we’re not interested in spoon-feeding them a position. At the same time, I’ve always assumed that they pretty much agree with us on most issues anyway. (We have yet to meet the misogynist, homophobic, white supremacist Clipping fan with an MBA and an NRA mebership).

So what do we do when all we can think about, all we can feel, is a profound injustice — yet another young unarmed person of color is murdered by a police officer? How does a band, which overtly rejects affect and the emotions, address something that is, for its authors, a deeply felt, deeply affecting topic? Well, we don’t entirely know. But the fact is: there’s more truth in Diggs’s lyrics than we generally let on. “Inside Out” describes a drive-by shooting in Oakland, “Chain” is about three stick-ups. They are presented with a lot of detail and specificity (perhaps the result of personal experience). But at the same time, they represent archetypal scenarios within rap music. One trope we had yet to explore as Clipping was the anti-police rap — the lineage of Public Enemy, NWA and Paris, straight through The Coup, and all the way into the ‘stop snitching’ panic of the early 2000s. “Knees On The Ground” is a paradigmatic white-cop-kills-an-unarmed-black-kid-and-gets-away-with-it tale — a story that happens all the fucking time in the US. What we have learned — from our first hand experience in Oakland in 2009, and from the media coverage of Ferguson in 2014 — is that the second part of this story involves a police response better suited to a war zone than to an American city. Cops think they’re playing Call Of Duty when they’re supposed to be part of a community. If Ferguson were in Iraq, Obama would have sent in an airstrike already.

This is the least obtuse Diggs’s lyrics will ever get. We’re embarrassed by the timeliness of this track. We do not intend to capitalize on what is, undoubtedly, a terrible tragedy. But journalists make think-pieces and we make songs. Writers write what they know, and this is what we know right fucking now.


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.