Let God Sort Em Out

the take

It’s not often an album has me on the verge of tears after listening. The last time that happened was Kendrick Lamar’s To Pimp a Butterfly, with Pusha T’s DAYTONA coming close. Clipse’s first album in sixteen years lands somewhere in that same emotional space, and for good reason. Pusha T and Malice sound like they never left. Their flows and wordplay are as sharp as ever, and every verse pulls you deeper into their writing. Clipse still do what they’ve always done best: gritty, focused rap for true hip-hop fans. Of course, it wouldn’t be a Clipse album without Pharrell Williams handling production on every track. It’s bittersweet not hearing Chad Hugo involved due to behind-the-scenes issues, but Pharrell still delivers a masterpiece. The production is luxurious, flashy, and grimy all at once, like a reflection of growth without forgetting the past. It feels like he pulled from every era of Clipse, including Exclusive Audio Footage, and modernized it into something complete. And the features? Unreal. Kendrick snaps on “Chains & Whips” (and yeah—fuck Def Jam). Tyler, The Creator delivers a full-circle moment on “P.O.V.” The-Dream reunites with Push for another strong pairing on “All Things Considered.” Ab-Liva returns on “Inglorious Bastards” without missing a step. Stove God Cooks turns “F.I.C.O.” into a highlight with a memorable hook. And Nas? Pure hip-hop royalty—stepping in and doing exactly what he does best. As a fan of Clipse since the beginning, I didn’t expect another album after 2009. But Let God Sort Em Out proves it was worth the wait. So be it.