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Instead, Clipping annex new terrain for a sub-genre often left for dead. In the hands of the less imaginative or less virtuosic, it could come off as overwrought or pretentious. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. The album contains interludes featuring hissing recordings of demonic invasions and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat.

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“He Dead” turns police officers into werewolves while Diggs flips Kendrick Lamar’s “Riggamortis” into something gravely literal.“All In Your Head” finds Clipping re-contextualizing the pimp talk of Suga Free and Too $hort into a metaphor for an Exorcist-style possession. Then law enforcement arrives and the bullets start to fly.

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The windows are boarded and sealed, the product simmers on the stove, the bodies sleep fitfully in shifts.

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Diggs sketches the narrative from the perspective of the victims, full of lurid and visceral details and intricate wordplay. There is “Nothing is Safe,” a reversal of Assault on Precinct 13, where the band create their own version of a John Carpenter-inspired rap beat and the cops are the ones raiding a trap house.

You can practically see the knife’s edge, sharp and luminous.Įach song contains its own premise and conceptual bent. The hairs on your arms stick up like bayonets. You hear ambient noises, footsteps and shovels. Diggs sounds like he’s rapping through a drive-thru speaker about the bottom falling out, bodies hitting the floor, and recurrent ghosts. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score the band samples on “Blood of the Fang.”įrom the opening “Intro,” Clipping summon an unsettling eeriness. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. This is clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past.

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If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite.