Clipse Prophesizes On ‘Let God Sort Em Out’ and The Brothers Of Rap Reclaim Their Seats On The Throne

Brothers Malice and Pusha T have arrived with an extraordinary comeback, after a 15-year hiatus as a rap duo, they are back to wreak a little havoc. Virginia Beach is a special homeland for the pair — with concentrated artistic greatness in its earth. On July 11, Clipse released their fourth studio album, Let God Sort Em Out, a fundamental hip-hop album with a sort of pureness that makes one cherish the fact that a poetic artform like rap exists. The pair, now entering their elder statesmanship in the rap game chose to only work  with Pharrell Williams (no Chad Hug; departure from the Neptunes sound), the Clipse family unit has earned its stripes and they have gained a spiritual connection to the greater human condition; through rhyme and reason, Pusha T and Malice were sharpening their pen all along while they were away. Malice went on a more spiritual path and even changed his name to “No Malice” for years before reverting back to his original artist name. And while some may question a return to the game after such a hiatus, the 13-track album illustrates that the lyrical prophets have evolved as they aged. 

Pusha T has his chest puffed out and Malice has his white gloves off, Clipse comes to lay it out flat, bloody knuckles and all with Let God Sort Em Out. “This is culturally inappropriate” repeats throughout the lyrical landscape of the album, the musical mantra rings true as controversy follows when a tag team of prophets join forces again. The familiar duo reunited in 2019 after taking an extensive break to focus on their solo careers. With the current state of hip hop feeling as if goliaths in the genre are going at war, taking low blows and headshots at one another, the legendary rappers of Clipse appear to be the aftermath of what happens when Pandora’s box opens.

On June 17, “So Be It” was the first promotional song from Let God Sort Em Out, the music video was shot at the Oheka Castle in New York. A Hitchcockian take inspired the black-and-white cinematography and flash cuts within the visuals, themselves, thumping drums, violins, and an Arabic sample of a song by Saudi artist Talal Maddah was crafted by Pharrell Williams. Pusha T intros the new saga for Clipse with: “sixteen thousand square, eight million up there, two million down here,” he showboats about his sizable wealth. “When I was born, grandmama could see it,” he hints at his rap superpowers. Then, Malice comes in with the second blow and his first segue into this new era: “you ain’t solid, ain’t valid, you ain’t Malice.” He even raps about the fact that there’s “No Neptunes” anymore, closing the chapter of when Pharrell Williams and Chad Hugo created hits with Clipse in the DMV. This new era for Clipse embodies the outlaw nature of two lone rangers in hip-hop with personal vendettas and a lot to say.  

Since their early 2000s albums, Lord Willin’ and Hell Hath No Fury, Clipse hasn’t made many tsunami waves in the hip-hop genre. However, Pusha T went off on a successful run, he created a wide catalog of music with Chicago rapper-producer Ye, (f.k.a.) Kanye West who he has now severed ties with. In Complex’s latest video interview between the hip-hop giants of Pharrell Williams, Pusha T, and Malice, Williams describes how Let God Sort Em Out was mostly crafted at music studios in Paris and that lends to the way the album has such a luxe, worldly sound.

Clipse laid down collaborations with John Legend, Kendrick Lamar, Tyler the Creator, Nas, Stevie Wonder, Lenny Kravitz, The-Dream, AB-Liva, and Voices Of Fire. This album feels much like a soundtrack for the biopic of Pusha T and Malice’s coming-to-glory story as rapping bandits who saved their own lives. They are here to prove a point that Let God Sort Em Out is holy, hyper-personal, and pries open the wounds caused by tormenting pasts, family history, manhood, loss, and a newfound spiritual awakening rooted in love.

“The Birds Don’t Sing” opening track is an honorary tribute to the Clipse brother’s parents. The verses serve as the final words they shared with their parents who passed four months apart from each other. Pusha T displays unwavering humanity and reminisces on difficult family tales, Malice bares all; rapping to his lost father about his individual story of redemption and being faithfully in love with his mother. Enriched with gospel textures, John Legend’s falsettos, and hard-hitting gangster edge, the brothers tag team to deliver serious truths. The album covers the dynamics of unprotected Black life, family lineage, and the plight that can follow without direction — with Malice and Pusha T’s voices serving as two heads of an unstoppable hydra dragon, sometimes difficult to decipher who is who but lyrically filled with honesty and hubris nonetheless.

Within the album, Pusha T and Malice take many blows against caricatures and imposters who dare to step into the hip-hop ring. In tracks “POV” featuring Tyler the Creator and “Chains & Whips” featuring Kendrick Lamar, the contemporary giants of rap are taking shots at those who don’t respect the artform of the craft. Malice goes in with snappy metaphors about those who masquerade as content creating rap artists and Pusha T takes no hostages with direct hits at the dark side of being raised in environments that cultivate real hip hop. Tyler, the Creator rapping alongside his biggest inspirations has initiated him as a new hall of famer. Lamar becomes self-possessed and goes on a breathless tangent about hardship and his life being spared from the circulating devilish thoughts that attempt to consume the Black psyche.

The album culminates at, “By The Grace Of God”, Williams orders a glorious symphonic orchestra to intensify as Pusha T and Malice rap over a choir who uplifts their hero’s journey. Let God Sort Em Out purifies and tells the narrative of byronic heroes who redeem themselves to become hometown heroes. Pharrell Williams continues his fluency in beat-making and the executive producer summons ancestral BPMs embellished with a heavy-handed gospel choir, extenuating the prophetic articulation of Pusha T and Malice with grand measure. The Clipse brothers are two reformed henchmen who are ready to seize back their hood from the nonpurveyors of rap. Wordsmiths, Malice and his subdued coolness supported by Pusha T’s snarling rap cadence can’t be matched, and their Midas pen will surely light a fire in future generations of hip-hop protégés.