Clipse "Let God Sort Em Out" (Album Stream)

For the first time in over a decade, Clipse returns with a full-length album, and Let God Sort Em Out arrives with the weight that kind of absence naturally carries. From the opening moments, Let God Sort Em Out makes its intentions clear. This is not a nostalgia play, and it isn’t an attempt to modernize Clipse’s sound for relevance. Instead, the album leans into what made the duo distinctive in the first place: cold precision, uncompromising subject matter, and a sense of consequence running through every verse. There’s no attempt to soften the edges or reframe the past. The record doesn’t apologize for where Clipse came from, nor does it romanticize it. Much of the album’s gravity comes from the renewed dynamic between Pusha T and No Malice. Their contrast has always been the engine of Clipse, but here it feels more pronounced. Pusha’s verses remain sharp, observational, and unflinching, while Malice brings a reflective, measured presence shaped by time, faith, and distance from the lifestyle they once documented. Rather than clash, the two perspectives coexist, giving the album its tension and balance. Production across Let God Sort Em Out stays intentionally stark. The beats favor minimalism and atmosphere over excess, allowing the lyrics to sit front and center. There’s a sense of restraint throughout the project — nothing feels rushed, padded, or engineered for singles. The sound design reinforces the album’s specific themes: 



patience, judgment, and the long arc of accountability. It’s music that assumes the listener is paying attention. Lyrically, the album revisits familiar territory — street economics, loyalty, betrayal, survival — but the framing has changed. These aren’t victory laps or shock records. The writing feels older, heavier, and more resolved. The title itself functions less as a slogan and more as a philosophy: a recognition that outcomes, consequences, and moral reckonings don’t always arrive on our schedule. That idea runs quietly through the album without needing to be overstated. What stands out most is how comfortable Clipse sound operating at their own pace. There’s no urgency to prove relevance or compete with current trends. Let God Sort Em Out trusts the listener to meet it where it is. Let God Sort Em Out feels like a continuation rather than a comeback — a record made by artists who understand exactly who they are and see no reason to explain it. "The Birds Don't Sing" is easily the song of the year... to me. Listen to the Clipse's brand new album below.

Clipse "Lord Willin'" (August 20th, 2002)

Like the cosmic universe, the world of hip-hop is made up of planetary foundations represented by stylistically regional hip-hop genres -- East Coast, West Coast, the Mid-West, and the Dirty South. Every few years, however, like a lunar eclipse, a hip-hop act emerges to interrupt the shine of conventional hip-hop. This year Malice and Pusha T a.k.a. the Clipse have arrived to introduce the Virginia streets to the hip-hop universe. The past few years have been full of contribution for the quiet state of Virginia. Almost overnight, VA has become an innovative ground for hip-hop culture. While noteworthy talent such as Missy Elliot, Timbaland and Teddy Riley have proudly represented Virginia on the radio and in the clubs, the Clipse will bring the uncharted aspect of Virginia streets to the forefront with their Star Trak/Arista debut, Lord Willin'. The creation of the Clipse is the culmination of events that began in the late 1980s. Both Malice (Gene Thornton) and Pusha T (Terrence Thornton) were born in the heart of hip-hop's birthplace, the Bronx, New York; home to hip-hop giants like KRS-1, and the late Big Pun. Residing in the Gunhill Road section of the Bronx, a young Malice and Pusha T migrated to Virginia in the early 1980s. First to move was the older brother, Malice who quickly developed a reputation as a lyrical wordsmith. Three years later, Pusha T joined his brother and the duo began to combine their Kool G Rap, Juice Crew, Eric B & Rakim and Large Professor influences with the unique sounds of Virginia. It was during a cipher that Malice caught the attention of an unknown producer named Pharrell Williams. Cont'd below + revisit the LP...

Impressed by what he heard, Williams promised to work with Malice and Pusha T to produce a demo tape. As Malice and Pusha T began to develop their craft and recognize their potential to have an effect on the hip-hop world, they began to formally be known as the Clipse. Meanwhile, Pharrell along with his classmate, Chad Hugo, began to take the hip-hop world by storm and establish themselves as one of the brightest production teams in hip-hop. Once established, Pharrell and Chad, known as the Neptunes, helped the Clipse land a deal on Elektra in 1999, where they released the buzz-single "The Funeral." The single struck a cord with street heads and garnered the Clipse some well-deserved attention, making them two to watch for the new millennium. Since their official signing to Arista-affiliated Star Trak Entertainment, their street single "Grindin'" has been pure fire in the clubs and on the mixtapes. "Grindin'" has created a buzz of anticipation from the streets to hear what this duo has to bring to the game. Additionally, the video for "Grindin'," has been highly requested on B.E.T., M.T.V. and other local music stations. Their next single, "When The Last Time," geared for radio and club play, is scheduled to impact radio this summer. Lord Willin' the Clipse will introduce the Virginia streets to us on August 20th. - Press Kit, 2002. As Pusha T said, "Still giving you classics, that's the only thing that dates me." Take it back to '02 and revisit Clipse's Lord Willin'.

Clipse "Exclusive Audio Footage" (1999)

While most people know of Lord Willin’, the 2002 formal major label debut of Clipse, what some may not know is that it wasn’t supposed to be Pusha T and Malice‘s first album; that would actually be 1999’s Exclusive Audio Footage. Like its successor the album was produced in its entirety by The Neptunes, and spawned just one single and music video, “The Funeral,” which failed to catch a buzz and ultimately led to the album being shelved. While bootlegs of the album have existed for years (many people, including this quasi-former writer, own a copy), Exclusive Audio Footage has now debuted on the streaming platforms for the very first time (and, seemingly, legitimately!), likely thanks in part to Push’s It’s Almost Dry debuting atop the Billboard 200 in its first week. The project remains mostly in its original format, save for “The Funeral” (which was, interestingly enough, released on the DSPs back in 2020), with features from Kelis, N.O.R.E., Kurupt, and others. The album is also notable for the second track “Hear Me Out,” whose production was reworked and ultimately became the backdrop for Jadakiss’ 2001 hit single “Knock Yourself Out.” Revisit the album, or get introduced to it, below. - via 2DBZ. Props to Meka for the heads-up on this project being released!

The world could definitely use new music from the Clipse.

Clipse "Next" Feature in Vibe Magazine (September, 1999)

"You can't deny that in the hip hop game it ain't where you're at, it's where you're from. Virginia, VA-bred duo Clipse understood this just as much as the next MC, but these siblings found themselves in an awkward position after the off-the-hook video for their debut single, "The Funeral," came out in May. "A lot of people thought we were from New Orleans after they saw the video," says Terrence "Terrar" Thornton, chuckling, as he downs buffalo shrimp at Mahi Mah's in Virginia Beach. "We just thought that a [party-style] funeral procession would be a perfect theme." Terrar pauses before adding, "And the video wasn't shot in New Orleans, it was shot here." Technically, Terrar, 22, and Gene "Malice" Thornton, 27, moved from White Plains, NY, to Virginia as children. Still, they hope that their home state will finally be recognized as a major part of the South's hip hop renaissance, especially with the release of their extremely banging debut, Exclusive Audio Footage [East/West/Elektra]. "Virginia is South, but now it's not considered the dirty South," says Terrar. "I guess we're too close to New York," Malice chimes in with a sarcastic grin." Cont'd below the video...

"Clipse landed their record deal after production team the Neptunes (best known for producing Noreaga's "Super Thung") played Elektra executives a tape of songs that would eventually end up on Clipse's debut. "We played them "Stick Girl" and "Got Caught Dealin'," says Pharrell Williams, one half of the Neptunes. "Malice freestyle his [rhyme] live over "The Funeral" track. [The execs] heard that and snapped." Exclusive Audio Footage signifies the arrival of Virginia's unapologetic street voice. Missy and Timbaland are the state's polished party brokers, and MCs Mad Skillz and Lonnie B are its highly stylized wordsmiths, Clipse are a punch to outsiders' grills. "You've never heard hardcore vibe come out of Virginia," says Terrar. "And that's what we represent -- Virginia's raw street perspective. Nothing more, nothing less." Just how we like it: nice and dirty." Vibe Magazine, 9/99 // In more recent news, congratulations to Pusha T on the birth of his first son, Nigel. God bless! Oh... and, as my man Supa says, "I would love hear a Good vs. Evil-type concept album from Clipse. Both could stay in their current element..." and that would be dope as hell. I'll wait for it!

Clipse "Hell Hath No Fury" (Spin, 9/06)

"On their long-awaited second album, the fraternal Virgina duo of Pusha T and Malice work from a starkly limited production palette - busted breaks with slivers of keyboard melodies, provided entirely by their benefactors and neighbors the Neptunes - and lyrics concerned almost exclusively with a single subject. And from that they've created an album of incredible skill and depth. Hell Hath No Fury is ostensibly about drugs, and Clipse are the most believable of the current dealers turned rappers. But veracity isn't the point, it's artistry, and this album is a how-to manual on the craft of MC'ing. In the duo's hands, the simple statement that they brought fur coats with drug money becomes: "Pyrex stirrers turned into Cavalli furs / Full-length cat / When I wave, the kitty purrs." 

"Songs like "Mr. Me Too" and "Trill" (which functions as a kind of anti-club-song club song with its deadpan chorus sung by Pharrell Williams) cover the well-trod ground of street acumen and material wealth. But here, those subjects are addressed with startling flair. On "Chinese New Year," Pusha opines, "Mask on face / Gun in hand / I was in and out of homes like the Orkin man / Never listened to my parents, like an orphan, man." It's the same old song, sure. But on Hell Hath No Fury, Clipse transform cliches into poetry." - Spin Magazine, September 2006. Promo brown bags below...

Clipse "Lord Willin" (One Sheet, 2002)

The first group off of the Neptune's label, StarTrak, is having an explosive year. With the help of their two hit singles, Grindin' and When The Last Time, their debut album Lord Willin' is RIAA certified GOLD!!! Clipse also appeared on Justin Timberlake's breakout single "Like I Love You," and performed with him on MTV's Video Music Awards. Catch them this fall on tour with Nelly. See what the critics are saying below, as far their review at HipHopDX, saying, "Virginia is the state for lovers. So, it’s rather fitting that heads in Roanoke, Richmond and over in Newport News really adore their hip hop. But it wasn’t until Missy Elliott and Timbaland boinged and zonked their way into the mainstream conscious that they truly had an MC to call their own. They finally have another. The Clipse, the gritty, powder-obsessed duo of Malice and Pusha T, is anxious to do for VA what Outkast and Goodie have done for GA–put their state permanently on the rap map. “Grindin’,” the team’s sizzling Neptunes-produced monster, isn’t their debut to the world, it just seems that way. Actually, the underground smash from a few years back, “The Funeral,” was the first time most folks ever heard the Clipse. But for some reason, that cut never got love in clubs outside of Virginia Beach."

"The 2002 gutter anthem, “Grindin’,” on the other hand, could get an old folks home in Austin, Texas, crunk. Now if for some odd reason that song’s thunderous claps and ferocious clamors don’t do it for you, there are plenty of other head-nodding opportunities orchestrated by those kooky Neptunes, including the hometown chant “Virginia,” the string-ripped “Gangsta Lean,” “I’m Not You,” with the LOX, and the Fabolous-joined “Comedy Central.” The only thing not really funny with Lord Willin’ is its content. Seemingly having a past filled with more drug selling than Walgreen’s, Pusha and Malice can’t stop talking about bricks, ounces and baking cake. Every song (including two remixes of “Grindin’“) touches on some aspect of weight moving, and the shit grows a bit taxing halfway through. But you won’t hear anybody in VA complaining about the lyrics. They’re just happy to have someone from their side of the tracks not named Timbo or Missy making a lil’ cream." - HipHopDX