Clipse
Let God Sort Em Out (released July 11, 2025)
More than two decades in, and I think some of y’all are still missing the true meaning of Clipse.
Yeah, we all know Pusha T and (No) Malice as the undisputed kings of coke rap. Even when the brothers Thornton split after their third studio album in 2009, their legacy behind the stove and in the booth remained intact, especially with Push keeping the spirit alive with his impressive solo career.
But Clipse were always much more than two dope boyz in a Cadillac (with Jesus in the back – word to Lord Willin.)
They are the yin and yang of the 80s drug era – glorifying the fast life while fighting to escape it. For every braggadocious bar that Pusha spits about his kingpin status, there’s always an undercurrent of guilt and remorse. And even though Malice left his past behind for more noble pursuits (including an underrated run of inspirational solo albums) he could never stray too far away from the game that molded him.
That’s what makes Clipse so much deeper than the usual codeine fiends on your playlists.
And that’s what makes Let God Sort Em Out more than the typical reunion album. They’re not here to prove to fans that they’ve “still got it” – as solo artists, it was clear they never lost it.
They’re here to remind us that there’s levels to this – from hustlin’ to hip-hop, to fame and family life, it’s deeper than rap.
Life is about layers, and Push and Mal have made a career unraveling them.
Of course, things done changed since the duo was last together. The Neptunes have dissolved, leaving Pharrell Williams to handle production duties without Chad Hugo by his side. And while the hip-hop landscape is much different in 2025 than 2009 – there’s an entire generation of fans who have never heard a Clipse album till now – they’re not dumbing things down to appeal to younger ears.
Because, again, Clipse is more than endless metaphors about birds and pies. The drug tales may entertain you, but it’s the life lessons that will grip you.
Speaking of, album opener “The Birds Don’t Sing” wastes no time snatching you by the heartstrings. Pusha reflects on the passing of their mother in heartbreaking fashion (“loved you met (grandson) Nige, hate that he won’t remember you”) while Malice laments the loss of their father (“You told me that you loved me, it was all in your tone/”I love my two sons” was the code to your phone).
It’s a somber way to open an album – especially one more than two decades in the making – but it sets the tone for 40 minutes of harsh realities and even harsher flows.
“Chains and Whips” is probably the most anticipated record on the album, especially when word leaked that Drake’s meddling may have caused a feature verse from Kendrick Lamar to be censored. K. Dot appears in all his glory here, stealing the show from both brothers as they shoot barbs at their materialistic peers:
Therapy showed me how to open up
It also showed me I don’t give a f***
The two-time Gemini with the genocide
I’m generous, however you want it, I’ll be the gentle kind
Gentlemen and gangstas connect, the agenda of mine
Move n****s up outta here, this s*** get gentrified
And speaking of strong guests, Tyler, the Creator also shows no intimidation standing between two titans on “POV,” holding his own even when the beat switches near the end of the track and Malice ramps up the intensity to atmospheric levels.
Make no mistake, Pusha and Malice remain the star attractions, with King Push serving as the slick-talking bully while Malice remains the wise but intimidating guardian angel.
“All Things Considered” plays out as moment of reflection, with Malice realizing that the drug game was rigged: “When Jada was asking “Why?”/I saw the vision/My homies that didn’t die was all in prison/Visits behind the glass, my mirror image.” The song is so moving that I’ll even forgive Pharrell’s overly autotuned hook. Y’all know I can’t stand those Decepticon songs. “M.T.B.T.T.F.” is a much more off-kilter offering, with Pusha effortlessly spewing quotables: “Poker faces keep ’em guessin’, no expression/Ice dressing on my chest and leave impression/What’s a Testarossa if you don’t test ’em?”
Some critics (me … I’m some critics) have questioned some of Pharrell’s most recent production efforts but he’s locked in on the beats on this project. “So Far Ahead” drifts between a gospel vibe and haunting horrorcore – a perfect fit for the duality Malice and Pusha bring to each track. “E.B.I.T.D.A.” sounds as close as you’ll get to that vintage 2000s Neptunes sound and “So Be It” – the most recent standout single – gets reworked on the album, less boom bap, more haunted steeple. It sounds like the final boss’ theme song in a Final Fantasy game. Admittedly, even though this version is good, it is a step down from the original. Blame sample clearances I guess.
And that brings me to the few weak spots of the album. Collectively, all the tracks work in sync but, honestly, I wasn’t all that moved by “Ace Trumpets” when it was revealed as the lead single. Again, it’s a better fit within the context of the album; on its own, it doesn’t really stand out. Also, a couple of the features were missed opportunities – I can’t believe Stove God Cooks – the PERFECT artist to compliment Clipse’s sound – was relegated to hook duties on “F.I.C.O.” Nas also makes an all-too-brief appearance on the tail end of “Let God Sort Em Out/Chandeliers.” The first half of the song is one of the strongest of the album but Nas’ verse, while good as you’d expect, doesn’t connect well. Perhaps it’s the overly shiny beat change that takes away from the first half’s grittier tone. But hey, at least we got Ab-Liva back on “Inglorious Bastards.” We even get DJ Clue yelling all over the track for that vintage We Got It For Cheap mixtape feel. Nice touch.
Despite my nitpicks, Let God Sort Em Out fulfills its mission – a declarative statement that real rap never left the building. It may lack the flash of Lord Willin and the brazenness of Hell Hath No Fury but it excels in its storytelling and atmosphere, making it an easy Album of the Year contender. Through it all, Pusha and Malice have every right to be cocky – they’ve survived a game that by all means should have taken them down years ago.
Because, as Pusha outlines on album closer “By the Grace of God,” “It ain’t over till we say it.”
For Clipse, there are more stories to tell, more lessons to share. Because it’s deeper than rap.
Best tracks: “POV,” “Chains & Whips,” “All Things Considered”
4 stars out of 5
Leave A Reply