Pre-existing fans of Los Angeles’ experimental rap trio clipping. likely find themselves prefacing to new listeners that the rapper of that project, Daveed Diggs, was in the history-inspired musical “Hamilton” as Marquis de Lafayette and Thomas Jefferson. Enamored by his multiple artistic talents, unknowing fans of “Hamilton” delve into some of the noisiest, disorienting and challenging textures ever rapped on, courtesy of producer duo William Hutson and Jonathan Snipes.
Those who were scared off by the difficult production could be elated by 2025’s “Dead Channel Sky,” released on March 14. Instead of being extremely noisy and challenging when it comes to texture (though elements persist), the production opts for electronic-driven sounds inspired by cyberpunk in addition to noise elements that aren’t as jarring.
The lyrics set the audience into a cyberpunk world as a concept album of sorts. The closest thing we had to an album with a similar theming prior to this is 2000’s futuristic album which takes place in the distant future, “Deltron 3030” by Del Tha Funkee Homosapien, Dan the Automator and DJ Koala or maybe clipping.’s own 2016 concept album masterpiece on afrofuturism “Splendor & Misery.”
Diggs rapping on dial-up noises was probably not on anyone’s Bingo card for this year, but that’s what the intro contains. Lyrics such as, “A kilobyte to eat,” “Net is like a street in that it’s still a trap” and “Appetite for detritus” show Diggs’ creativity and playfulness with language. Of course, he has to end the intro with “It’s clipping., bitch” as done with other albums, but his voice glitches before the rest of the catchphrase could be said.
“Dominator” is a fantastic intro to the world of the album. In this world Diggs highlights a progressive perception of gender with, “A waste of energy debating the mechanical for genitals when gender is so easily programmable, you know that.” Diggs even shouts out circumcised people with the lyric, “Skin is impractical for a dick.”
“Change The Channel,” sounds like it came from an action montage in a movie or movie compilation with lively percussion. Diggs’ rapping illustrates even more about the album’s world, with lyrics setting the mood: “Rebar in the nail bed, breast milk in a green vial, wet sheets in the corner, asbestos is best before breakfast.” The piano in the chorus along with the lyrics are catchy even if the lyrics are talking about somebody being dead.
Diggs’ sampling nearly anything he remembers and regurgitating it in eloquent ways, is admirable. It’s lovely how he can rap extremely thought-provoking lines and then raps, “Biters catch the cool from the metal nuts, deez,” which references a popular video circulated on the Internet in 2015.
“Dodger” has one of the best outros in all of music. It’s euphoric with the symphonic stringed instruments, fast-paced drums and Diggs’ frantic rapping. The part where Diggs raps “Justify treason to capture this feeling, has to be love” stood out in particular for its rationalization of the lyrics prior: “The song they used to hum at school with the rules and the reasons to do all the things that you do, in the name of the thing, what the f*ck is the shit they sang? / But this man elevates, and it makes it seem insane, asinine, even, assassinate him for what?”
Before that, the chorus being about killing a virus feels like a response to Deltron 3030’s song “Virus,” where that song is about someone who created a technological virus to destroy society.
“Keep Pushing” is interesting for its techno synth and insight into the concept album’s world of drug trade, the chorus being “And everywhere you go, just keep on pushing dope, however hard it’s been, get up and push again.” The lyric “History is so funny, it’s only writ’ with ink that’s on money” is genius for how history is only written by winners more of the time and especially in antiquity.
“Polaroids” sounds like a conventional clipping. song; it’s noisy and minimalistic while also being intricate lyrically. The story and description behind the secretary-looking woman who writes interested me, but her memories remain in a box full of polaroids that aren’t wanted according to Diggs. He adds, “Memories are gobos making shadows on the locked present that has been fixed, so it’s best to leave them dead.”
“Welcome Home Warrior,” is extremely relevant for digital denizens who use the Internet as a place to escape from harsh realities. Abstract rapper Aesop Rock’s verse was incredible, with the one-liner “weapon-toting soldiers built like Charlie Brown’s Christmas tree” being hilarious.
“Ask What Happened,” is an excellent closer. The beat is eerie and cold at first but develops into something hopeful. The lyric “History and future belong to the one percent” would resonate a lot with those disillusioned with the world. The first step is dialogue and action. Diggs leaves the audience with the introspective “they never wanted to look behind the eyes of a hacker.”
Rating: 4/5