Why the Virginia duo’s comeback, Kendrick and Tyler features, and Tiny Desk performance signal a rap revival
If you’re wondering where real hip-hop has been hiding, look no further. Let God Sort Em Out, the long-awaited comeback album from Clipse, is more than music, it’s a cultural reset. Malice and Pusha T, two brothers bound by blood and bars, have delivered a project steeped in integrity, artistry, and purpose. In a time of algorithm-driven hits and fast-food rap, Clipse are serving soul food for the seasoned listener.
Clipse Drop ‘Clips’ That Shook the Culture
The rollout was nothing short of masterful. From cryptic song leaks to fashion week reveals, Clipse let the clips fly, figuratively and lyrically. But the crown jewel? Their NPR Tiny Desk Concert, where they brought back the most iconic beat of their career. When the table drumming of “Grindin’” echoed through that intimate space, it wasn’t just nostalgia. It was a reminder: this is how you shake a room without saying a word.
Why Clipse Left Def Jam for Creative Freedom
Behind the scenes, the Thornton brothers made a bold move that reinforced their commitment to authenticity. When Def Jam reportedly tried to alter or cut Kendrick Lamar’s verse on “Chains & Whips,” the duo walked. Rather than censor one of the most electrifying guest features in years, Clipse bought themselves out of their deal, at a seven-figure cost. They signed with Roc Nation, kept the verse, and sent a message to the industry: art over optics.
Kendrick Lamar, Tyler the Creator, and Nas Bring Firepower
Let’s talk features. Kendrick Lamar’s appearance is a clinic in layered lyricism. He weaves spiritual metaphor with industry critique, delivering a verse that’s already being called one of 2025’s best. Tyler, the Creator steps in on “P.O.V.” with wit, menace, and a razor-sharp verse that balances legacy and rebellion. And just when you think the guest list couldn’t be more iconic, Nas shows up to close the curtain with grace and gravitas.
A Return to Grown Man Rap
This isn’t a throwback album. This is evolution. Malice and Pusha T aren’t chasing the past, they’re carving a new lane for mature, layered hip-hop. Pharrell handles the full production with moody minimalism and cinematic sweep, letting the verses breathe. And Malice, back from his spiritual hiatus, sounds more focused than ever. His bars carry wisdom and weight, balancing reflection with ferocity.
Real Rap Is Back, And Clipse Are Leading the Charge
Let God Sort Em Out isn’t just an album. It’s a manifesto. A rejection of microwave music and a celebration of penmanship, brotherhood, and real-life testimony. From grief-stricken tributes to their parents on “The Birds Don’t Sing,” to unflinching critiques of modern rap’s hollow decadence, Clipse have returned with more than bars, they’ve returned with a purpose.
As Kendrick himself once warned, the party is dying. But thanks to Clipse, real hip-hop is alive and well. And this time, it’s dressed in black and ready to bury the fake.