March 19th, 2025 will surely be remembered by the hip-hop scene as the day Playboi Carti’s ‘MUSIC’ finally dropped after more than four years of hype and speculation. What a tragedy that is, as the much more promising rap project to release on that date was undoubtedly the new record from experimental three-piece clipping.. By infusing their sound with influences from EDM, Diggs and company have created yet another bold and absolutely thrilling addition to an already impressive discography: though ‘Dead Channel Sky’ can feel a little constrained compared to 2020’s ‘Visions of Bodies Being Burned,’ the record’s infectious dance grooves and stunning performances deserve far more eyes on them.

clipping. have taken to dance music with all the grace of a ballerina in their prime— listening to a cut as energetic and heart-thumping as ‘Dodger,’ it’s unthinkable that the trio have never truly committed themselves to exploring the genre before. Though most of the drum and bass grooves the record sinks into are certainly unconventional, they also possess an accessibility as yet unseen throughout the clipping. catalogue. Opener ‘Dominator’ establishes the record’s ethos to a tee as the track sprints through its modest runtime, centring itself around a fantastic Human Resource sample (pitch shifted within an inch of its life in a manner reminiscent of Death Grips) that never gets old. ‘Dead Channel Sky’ is often at its best in its wildest, more carefree moments: ‘Run It’ stands out as a clear standout, seeing the trio layering warbling bass lines and ear-candy drums together in a manner best described as hypnotic.

Rather than merely paying lip-service to EDM, clipping. have embraced it in full— as the record progresses, the trio are unafraid to let the sounds grow slower and more ominous without losing a shred of infectiousness or intensity. ‘Code’ manages to craft one of the nastiest beats on the entire record through a simple combination of punchy kick hits and some eerie synth lines, showcasing the trio’s ability to make even the simplest ideas jump off the speakers. There’s also the sleazy ‘Mirrorshades pt. 2:’ cheesy and ridiculous as the cut may be, the track’s constant sample flips, moments of hand percussion and fantastic Cartel Madras feature combine into an undeniably groovy moment in the track list. Rounding the record out on melancholic cut ‘Ask What Happened,’ it seems undeniable that the infusion of EDM into the three-piece’s sound has been handled about as tastefully and seamlessly as one could ask for, bringing something fresh and new to the clipping. discography.

Don’t get it twisted though: ’Dead Channel Sky’ may be the group’s most accessible work to date, but the three-piece are miles away from selling out. The Hutson and Snipes sound design remains as off-the-wall as ever, taking a number of instrumental breaks throughout the record to showcase just how far they can push their industrial influences. It’s disappointing that the duo seem a little restrained in comparison to other clipping. projects though: while we’re relieved to see the abrasive walls of feedback and static that often interrupted past records be mostly absent on ‘Dead Channel Sky,’ we can’t help but feel like a number of cuts are just begging for a little more gas in their tank. Songs like ‘Scams’ or ‘Welcome Home Warrior,’ though still very enjoyable, can feel needlessly constrained at times as the beats fail to match David Diggs’ levels of boundless energy, leaving us wandering about what could’ve been.

That’s without mentioning the more underwhelming moments throughout the record, which often come at its most minimalist points. A track like ‘Madcap’ strikes us as unfinished in places, dawdling through its meagre 90-second runtime without all too much to say on a musical front: a similar criticism could be levied at ‘Polaroids,’ which has far more to say lyrically than it does aesthetically. When taken in combination with the numerous impressive but ultimately meaningless interludes, ‘Dead Channel Sky’ manages to waste more of its runtime than we would’ve preferred, often leaving us waiting for the fantastic dance beats to return.

Even in these more lacklustre moments, Daveed Diggs’ superb performance on the mic deserves special attention. The new clipping. record may not be as lyrically thoughtful as ‘Visions of Bodies Being Burned,’ but its explorations of dystopia, consumerism and technological advancement are nonetheless well-considered, fitting against the album’s more accessible sound in a somewhat creepy fashion— Diggs delivers each scathing remark and witty bar with a confident edge, proving himself to be one of the most underrated emcees in the genre. This is, first and foremost, a hip-hop album, and Diggs consistently brings the heat: from the effortless flows of ‘Run It’ to the laid-back, melodic offerings of ‘Keep Pushing,’ the performer is obviously in his element here.

Let’s get it straight: in its standout moments, ‘Dead Channel Sky’ is a dance/hip-hop extravaganza, blitzing through its runtime like the greatest DJ set you could ever hope to hear. Even listeners who weren’t enamoured with the band’s previous output will probably find themselves nodding along to ‘Dominator’ and ‘Mirrorshades pt. 2’ as the group have managed to balance accessibility and experimentation brilliantly on their newest release. Though we wish the record could deliver those highlights more consistently, we’re nonetheless thrilled to report that clipping. have still got it in 2025.