Metal Storm's outlet for nonmetal album reviews
The place where we'll talk about music without growls or blast beats
unless they still have those but still aren't metal
unless they still have those but still aren't metal
We here at Metal Storm pride ourselves on our thousands of metal reviews and interviews and article; metal is our collective soul and passion, which is why we bother with this junk. That being said, we'd be lying if we stuck to our trve-kvlt guns and claimed that metal is the only thing we ever listen to. Whether we want to admit it or not, we do check out some other stuff from time to time; some of us are more poptimistic than others, but there's a whole world out there aside from Satan-worshiping black metal and dragon-slaying power metal. We do already feature some nonmetal artists on our website and have a few reviews to back them up, but we prefer to limit that aspect of the site to those artists who have been a strong influence on the metal scene or who are in some way connected to it. This article series is the place for those artists who don't matter to metal in the slightest but still warrant some conversation - after all, good music, is good music, and we all know metal isn't the only thing on this planet for any of us.
Down below, you might find some obscure Bandcamp bedroom projects or some Billboard-topping superstar; as long as it ain't metal and the album itself isn't a best-of compilation, it fits. Obviously, we're certain that not everything will be for everybody (you guys can be viciously territorial even when metal is the only thing on the menu, and we're all supposed to like the same things), but we do hope you find at least one thing that you can enjoy, instead of just pointing and screaming in horror "Not metal!" as if that would be an insult.
Here are our previous features:
July 2025
June 2025
May 2025
And now to the music...
The World Is A Beautiful Place & I Am No Longer Afraid To Die
Dreams Of Being Dust
[Post-Hardcore]
Like Marissa Nadler, this is the first new album since October 2021 for The World Is A Beautiful Place & I Am No Longer Afraid To Die (TWIABP from here on forward), but while Nadler has stripped things down to an even quieter level in the interim, TWIABP have gone in an opposing direction. Longtime darlings of the emo revival of the 2010s, the band went in a progressive rock direction on 2021’s Illusory Walls, but the decision to make use of guitarist Chris Teti’s connections to End (USA) and recruit Greg Thomas and Will Putney to respectively mix and master Dreams Of Being Dust is a clear indicator of a different direction they wish to explore this time around.
Fuelled by personal tragedy and dark times, Dreams Of Being Dust takes TWIABP in a heavier, more aggressive direction, maintaining tenuous connections to emo but more so taking the form of a post-hardcore album with metallic tendencies. Longtime vocal duo David Bello and Katie Dvorak are joined on the vocal front by the roars of new guitarist Anthony Gesa, as well as guest appearances from Dylan Walker (Full Of Hell) and Brendan Murphy (Counterparts). The end result is an album that has moved far away from the proggy explorations of Illusory Walls (aside from bits of closing song “For Those Who Will Outlive Us”), not to mention the band’s earlier emo indie rock. There is a metallic heft to the riffs and guitar tone on songs such as “Dimmed Sun” (which also has a faint Between The Buried And Me courtesy of the synths) and “Captagon”, although Bello’s melodic vocals do still tether these tracks to TWIABP’s past, while songs such as “Se Sufre Pero Se Goza” and “Augeries Of Guilt” are more clearly rooted in post-hardcore, trading off screams and blasts with lighter riffs and leads. It’s a bold move from the band, but while some of the variety across the record does feel like elements of the group are pulling away from one another, for the most part it successfully translates core elements of TWIABP into a new and dangerous context.
Bandcamp
by musclassia
Slow Crush - Thirst
[Shoegaze]
My beloved ArcTanGent is by no means exclusively a metal festival, with a variety of rock and other styles represented, but shoegaze bands make infrequent appearances there; when they do, there’s usually something a bit different about them. Such is the case with Belgium’s Slow Crush, who featured in the 2019 and 2022 editions of the festival, at which time they were also part of Holy Roar Records and its spiritual successor Church Road Records. There’s a certain heaviness and fullness to their sound that goes beyond a lot of the band’s peers, without threatening to turn metallic. The heft of the opening chords and reverberating density of the drums on the opening title track of Thirst is sharply contrasted by the genre-typical hushed, hazy vocals of Isa Holliday; the song later accentuates the contrast of those featherweight vocals with powerful riffs and energetic rhythms.
The style across the album doesn’t offer much in the way of variety (the ambient interludes “Hollow” and “Ógilt” aside); if you like or don’t like your first taste of Thirst, it’s safe to assume that your opinion won’t significantly change with further exposure. A few songs, such as “Cherry” and “Covet”, are a touch livelier, while “Leap” and “Haven” push the heaviness slightly more, but basically, if loud, dense shoegaze with floating ethereal vocals is appealing to you, you’re going to have plenty to enjoy here.
Bandcamp
by musclassia
Årabrot - Rite Of Dionysus
[Alternative Rock | New Wave]
Eagle-eyed listeners may recognize the similarity between the artwork of Rite Of Dionysus and Årabrot’s previous album, Of Darkness And Light; the two records were recorded at the same time, and the former contains what should have been the latter’s titular song. The two releases make for good companion pieces, mainly as both are similarly eclectic stylistically. The 2023 album featured takes on the band’s noise rock that ventured in psych-rock, new wave and garage rock directions; Rite Of Dionysus strays away from the noise rock a tad, exploring some other styles in a more intimate manner, but still offers its fair share of surprises.
The organ drones and pulsing synths on opener “I Become Light”, along with Kjetil Nernes’s repetitive delivery, gives the track a slightly ritualistic feel, but right after “A Different Form” throws up riffs that demonstrate that the band’s classic noise rock is still intact, even if the verses are lighter and gentler. Subsequent songs include the indietronica of “Rock’n’Roll Star”, delicate folkish acoustic instrumentation during “Pedestal”, and bombastic heaviness courtesy of “The Satantango”, while the pulsating goth rock/new wave electronica in “Of Darkness And Light” is calling out to be played at alternative music club nights. My experience with Årabrot to date has been a slightly hit-and-miss one due to the sheer eclecticism of the writing, and once again not everything here hits the spot (I can easily do without the dreary spoken word ambient electronic song “Mother”), but it’s a fun album more often than not.
Bandcamp
by musclassia
Ethel Cain - Willoughby Tucker, I'll Always Love You
[Slowcore | Dream Pop]
Ethel Cain's breakout Preacher's Daughter back in 2022 quickly became one of my favorites listens of that year, with its sound being a singer/songwriter sound that straddled between more commercial dream pop with a more forlorn slowcore leaning, sometimes becoming heavy and doomy enough to be close to metal, while its lyrics portrayed a tragic narrative of grooming and murder. Those longer atmospheric moments got expanded a lot in the Perverts EP, an EP in just name at about 90 minutes in runtime, one that well fully into the ambient side. Though it was clear that its categorization as an EP was done mostly so that it was clear that it wasn't the followup to Preacher's Daugher. That instead is Willoughby Tucker, I'll Always Love You.
I'll admit that I have rarely returned to listen to Preacher's Daughter in full, its 75 minute runtime being quite daunting, instead feeling a very strong emotional connection to a lot of tracks that I return to constantly. Willoughby Tucker, I'll Always Love You is similarly daunting because of its almost identical runtime, this time concentrated into less but longer songs, and a sound that feels more streamlined towards the slowcore part of the sound, along with more instrumental interlude moments. Narratively similar to its predecessor in themes, but acting as its prequel, does make the full listen very rewarding, but its individual songs have yet to grow on me the way songs from its predecessor did, though they probably will by the end of the year.
by RaduP
Tropical Fuck Storm - Fairyland Codex
[Experimental Rock | Art Punk]
RaduP's pick
Even though I've been aware of them for a long time and I've covered them before, it still brings a lot of joy to my heart knowing that there's a band out there called "Tropical Fuck Storm". Though contrary to what you'd expect from such a name, Fairyland Codex is far from being a "rowdy" album or much resembling the garage rock-ness of the band's name. From the start they were more than meets the eye, blending noise rock, neo-psychedelia, and art punk. Each album got progressively tamer while still keeping an idiosyncratic sound, and Fairlyland Codex might be the tamest yet.
And when I say "tame" I mean in the sense that this is the album that makes me say "this is bonkers" the least, with more of the album being a moodier and sparser affair, one that moves away from the noise rock part of the band's sound and more towards the art rock side, while still keeping just some of the psychedelia. What we have instead is weird experimental grooves, slow burn songwriting, and an overarching harrowing darkness in a way that feels more in line with a very sad singer/songwriter record, albeit with the instrumental palette of an experimental post-rock band.
Bandcamp
by RaduP
Arcadea - The Exodus Of Gravity
[Synth Rock | Psychedelic Rock]
When Brent Hinds departed Mastodon earlier this year, there was a lot of talk about what he might get up to next musically. Unfortunately, tragedy has determined that we will never learn the answer to that; instead, August 2025 offers the latest opportunity to see other members of Mastodon exploring music outside of the band, as Brann Dailor’s Arcadea have released the long-awaited follow-up to their 2017 self-titled debut. The Exodus Of Gravity features Dailor on both drums and lead vocals, joined by guitarist Core Atoms and synth player João Nogueira. While the album’s artwork feels like a supercharged take on the psychedelia portrayed on Once More 'Round The Sun, Arcadea is more than a simple continuation of that direction.
Dailor’s hectic drumwork is as recognizable as his voice, and he throws out fills with similar abandon to his performances as part of Mastodon, but the tone here is notably lighter, guitars taking a relative backseat to bright, energetic synths on opener “Dark Star”. The prominence of the synths and lack of guitar distortion means said guitar usually shines in lead moments, but there is an element of crunch to moments of tracks such as “Lake Of Rust” and “Galactic Lighthouse”. The Exodus Of Gravity arguably shines brightest on its most upbeat and vibrant cuts, particularly the funky “Fuzzy Planet”, but also the space-rock ventures of “Silent Spores” and rampant “The Hand That Holds The Milky Way”. Twelve songs gives plenty to get stuck into, but as it clocks in just below 50 minutes, it’s not an overwhelming experience, and the psychedelic glow of the soundscapes combined with the uplifting melodic vocals makes for a warm and fun experience.
Bandcamp
by musclassia
Bioscope - Gentō
[Krautrock | Ambient]
Given the huge reputations of both Tangerine Dream and Marillion, the prospect of a project featuring members of each is likely enough to get multiple fanbases salivating. Marillion’s Steve Rothery has had notable success outside of Marillion, particularly with the outstanding 2014 solo release The Ghosts Of Pripyat, while Thorsten Quaeschning was handpicked by Edgar Froese to continue the legacy of Tangerine Dream. Together, the pair produce a debut album in Gentō that exhibits some of the atmosphere of The Ghosts Of Pripyat, but which overall feels far closer to the ambient electronica of Tangerine Dream than any of Rothery’s past projects.
Accompanied by Elbow drummer Alex Reeves, Rothery plants delicate guitar tones and textures atop Quaeschning’s electronic machinations, which range from serene ambient synths to bouncier and more substantial soundscapes across the 5 songs, 3 of which are comprised of multi-track suites. The opener, “Vanishing Point”, is one of these; Rothery lurks firmly in the background of Part I, but Part II allows him to lay down more clearly audible distortion and lead motifs, while Reeves is afforded the opportunity to move beyond the faintest of cymbal taps to explore the full drumkit, crafting uplifting krautrock-meets-new age. The title track is more immediate and dazzling with its electronics than any of “Vanishing Point”, but it, like all the other songs here, is very gradual with its evolution. Later on, “Bioscope” (especially Part II) and “Kaleidoscope” are the closest the album gets to Rothery’s rock-oriented solo work, and that slight sense of added structure is a welcome feature at that stage of the album.
by musclassia
Nuclear Daisies - First Taste Of Heaven
[Drum & Bass | Alternative Rock]
musclassia's pick
Electronic music and rock music are by no means mutually exclusive; heck, ‘electronic rock’ has its own Wikipedia article. However, the forms in which such fusions can occur are as wildly varied as the huge umbrellas of styles that fall under each of those two overarching genres. As it is, I haven’t encountered much that is close to resembling the mixture of sounds on First Taste Of Heaven, the second album from Austin-based band Nuclear Daisies. Kicking off with guitar-laced drum & bass on the breakbeat-laden “Honey In The Wound”, it immediately throws a curveball by seamlessly segueing into “Dandelion Wine”, a track that more closely resembles Madchester-style indie rock capped by shoegaze textures and funk rock rhythms.
As the album progresses, breakbeats come to define its sound, racing forward on the likes of “Body Turns Blue”, “Toad” and especially the rapid D&B cut “Doves”, all while synths, guitars and hazy vocals find their space around the drums. However, it’s not a one-pace album; on the one hand, “Fangs” eschews the breakbeats in favour of trap beats and dubstep electronics that work very effectively with Alex Gehring’s ethereal vocals, while conversely “Infinite Joy” revels more in that 90s shoegaze/alt rock nostalgia. The biggest wildcard comes at the end in the form of “333”, a 9-minute slow burn of dub rhythms and psychedelic electronics that provides a relatively soothing yet slightly melancholic conclusion to one of the more compellingly unique albums I’ve encountered this year.
Bandcamp
by musclassia
Wet Leg - Moisturizer
[Indie Rock | Post-Punk]
It's not always super common for me to have followed a band since their debut, but then again it's also not very common for a band to create this much buzz with their debut album the way Wet Leg did with their self-titled back in 2022. I liked that album even though I find some of it to suffer from feeling like some its sounds have been done before, which is somewhat understandable for a debut, and while that's still somewhat the case for Moisturizer, it takes another step towards Wet Leg having their own sound and capitalizing on how their personality showed on the debut.
I find that there's still a lot in common both sound-wise and quality-wise between Wet Leg and Moisturizer, with the band moving between indie rock sounds that feel familiar, whether more mellow love ballads or cuts that have more of a post-punk revival leaning, the latter usually being the cuts that get me the most excited. Once again I found that there were certain songs I was returning to more than wanting to listen to the entire album again, especially the shockingly raunchy lyricism on cuts like "Jennifer's Body" or "Pillow Talk", that I ended up liking more than any cut on the debut.
Bandcamp
by RaduP
Haru Nemuri - Ekkolaptómenos
[Art Pop]
The one consistent thing with Haru Nemuri’s discography is its unpredictability. With now three albums and a plethora of EPs under her belt, it’s impossible to categorize Haru’s music into any specific genre, which is exactly what she wants. Her previous album, Shunka Ryougen, had the hard task of following her very successful debut and ended up being bloated and overambitious, so Ekkolaptómenos reigns things back and is very much intended as a new beginning for the Japanese artist.
What’s immediately striking is how calm Ekkolaptómenos is compared to Haru’s previous work. Her other two albums had some relatively heavy stuff with occasional harsh vocals, and the INSAINT EP was straight-up post-hardcore. This time around, the heaviest the music gets is the alternative rock of “Supernova”, with the predominant sound of the album being electronics-fueled pop. It is a style that perfectly embodies Haru’s endless musical transformations and allows her a lot of variety and experimentation, and some of these tracks are truly great, with the stretch from “Panopticon” to “Excivitas” being the highlight here for me. It definitely feels a lot more focused than Shunka Ryougen, which was a chore to listen to at times. I would even go as far as to say that there is no real weak point to Ekkolaptómenos. But it also doesn’t have highlights that reach the level as “Kick In The World” from her sophomore or “Narashite” from her debut, and it’s really missing that one standout to become a truly great album. Still, I really enjoy Ekkolaptómenos, and it’s a big step-up from Shunka Ryougen, which makes me very excited for wherever Haru’s metamorphosis takes her next.
Bandcamp
by doez
Lorde - Virgin
[Alt-Pop]
Words cannot describe how disappointing 2021's Solar Power was (to the best of my ability I tried) especially after the pop watershed moment that was 2017's Melodrama. Now that there's been more than a decade since her debut (and still biggest single), it does feel like the ship has sailed in terms of the chances of Lorde regaining that same kind of popularity, considering that there was more hype about a Charli XCX about and later featuring Lorde than her actual music, but Virgin does at least promise to correct the course derailed by Solar Power.
Solar Power, misguided as it was, suffered a lot from having to follow Melodrama, and that's an impossible standard that looms over Virgin. Already self-sabotaged by its head-scratching cover art, but having its aura saved by that Kyle MacLachlan reel, Virgin does set itself apart by being more lowkey in energy, and while there is decent enough variety of sounds, a lot of the production on the record takes cues from various electronica sounds, which together with a return to more introspective lyrics does make the album a slow burning grower that might need more listens to really leave a mark on me.
by RaduP
Tami Neilson - Neon Cowgirl
[Country Soul | Americana]
Tami Neilson is a Canadian country and soul singer/songwriter, who used to be part of The Neilsons, a family band in which she was performing with her parents and two brothers across North America. She continues to co-write much of her music with her brother Jay Neilson, to whom Neon Cowgirl is dedicated to. Having immigrated to New Zealand, her intention was to bring her husband, and especially her children (born and bred in NZ) to North America for a road trip in an RV, so that they could have the chance to get a taste of the Neilson heritage. Just before the trip she landed in hospital for a month, battling with sepsis, and when she recovered, the trip did take place, but it was a completely different experience.
Neon Cowgirl is a love letter to Nashville and to “the patron saint of heartbreak in downtown Nashville as she smiles coyly over her shoulder in red cowboy boots”. The focal point is Tami’s commanding, versatile, and emotionally devastating voice, and her ability to perform splendidly whether she sings country, folk, rockabilly, or soul. Packed with a variety of songs that reference anything from Elvis Presley to Patsy Cline and from Roy Orbison to K.D. Lang, Neon Cowgirl is a cinematic musical road trip with strong narratives and wonderful arrangements, even if it’s leaning heavily on retro sounds. Although it never explicitly references Tami’s near-death experience, Neon Cowgirl’s songs seem to carry the weight of mortality while celebrating the joy of being alive. It is a very personal album about chasing her own dreams, overcoming difficulties, and illuminating her distinct path.
Bandcamp
by nikarg
Marissa Nadler - New Radiations
[Dark Folk | Singer-Songwriter]
When we last heard from Marissa Nadler, she was drifting through the clouds with a hushed, delicate yet subtly dark tone. The Path Of The Clouds was mellow and heartfelt, but with an understated richness to its arrangements. Nadler has stripped things back further this time around, as New Radiations is in large part just Nadler’s voice and an acoustic guitar, eschewing the percussion and richer instrumental textures of the preceding album. She’s not entirely alone here, as multi-instrumentalist Milky Burgess pops up at times with slide guitar and synths among other elements, but the album very much places her as front and centre as is possible.
The Path Of The Clouds reminded me somewhat of Emma Ruth Rundle’s solo work, and this album echoes some of the stripping back by Rundle between On Dark Horses and Engine Of Hell. Much like with that direction, I do miss some of the roundedness of The Path Of The Clouds here, as it feels as if there is even less room to vary stylistically this time around. However, the angelic charm of Nadler’s multi-layered vocal harmonies on such emotionally naked songs, combined with tender acoustic guitar and those aforementioned instrumental cameos (the slide guitar is a particular highlight in the wistful Americana of “You Called Her Camellia”), allows what is a pretty static sonic foundation to remain generally compelling across the 11 songs here.
Bandcamp
by musclassia
Sowulo - Niht
[Dark Folk]
musclassia's pick
Niht is the sixth (or fifth according to some reviews – I’m not sure which of these doesn’t count) full-length album from Dutch dark folk act Sowulo, the brainchild of multi-instrumentalist Faber Horbach. Aside from 2020’s Grima, which featured very long-form and spoken word-laden compositions, Sowulo’s albums to date have typically followed the Nordic neofolk example set by the likes of Wardruna of crafting richly atmospheric songs built using traditional folk instrumentation (nyckelharpa, Celtic harp, bukkehorn and carnyx are just some instruments included among the credits) and lushly layered vocals, although Sowulo’s lyrics are Anglo-Saxon in origin. Sowulo’s sound on Niht is classic enough with strong enough songwriting to appeal to fans of the Northern Europe dark folk scene, and it contains a few distinct songwriting approaches between tracks to offers up some surprises.
After a brief introductory piece, the album gets properly going with “Seolfren Sicol”; strings and drums craft a rhythm fitting for a ceremonial dance, while Harbach and Micky Huijsmans’ vocals harmonize charmingly, but the harp accompaniment in the track’s various lulls adds a dainty contrast. In contrast, the vast soundscapes crafted by the strings and mournful vocals respectively on “Āsteorfan” and “Sōl ond Māni” are right in the Wardruna, while the pounding drum and chants of “Full Mōna” bring Heilung firmly to mind. In terms of surprises, the rhythms and elements of the instrumentation in “Mōnaþblōd” feel unexpectedly influenced by hip-hop, while Huijsmans alternates classic singing with primal snarls and pants. Similarly unique, if less memorable, is “Carnyx”, which offers nearly 4 minutes of ambient instrumentation performed exclusively by the wind instrument that shares its name. The range and quality across Niht makes it a worthy addition to a populous neofolk scene.
Bandcamp
by musclassia
Tyler, The Creator - Don't Tap The Glass
[Pop Rap]
Tyler's never been the kind to take a lot of time between albums, but I was still taken aback to see a new one this soon after last year's Chromakopia, with less than a year in between the two release dates. And Don't Tap The Glass is also very conceptually separate from that album, so it's not even like it acts as a sort of sibling album to it. But looking back at Chromakopia and the run that preceded it all the way back to 2017's Flower Boy, it felt like Tyler was constantly getting increasingly conceptual and introspective. So I guess that way Don't Tap The Glass makes sense as a detour from that.
Don't Tap The Glass is not only much shorter, long enough to still be a full length but short enough that it doesn't even reach the 30 minutes mark, but it's also overtly unconceptual and more direct. To a pretty stark contrast to the preceding albums, this album distills the more "fun" aspects of it, with production that's more dance-y, often shifting in energy between being more groovy and more hardcore, shorter songs with lyrics that are more raunchy and crude. Going into the album with the expectations set for a simpler good time does make for a pretty neat listening experience.
by RaduP
Joey Valence & Brae - Hyperyouth
[Hardcore Hip-Hop]
When last year's No Hands dropped, it instantly became my favorite hip-hop album of that year, mostly because of how unapologetically nerdy and tongue-in-cheek it was, combined with how the energy was turned to 11, making it super easy to find likeable, while also being quite interesting in the occasional EDM injections that felt like bigger left turns than expected for such an album. No Hands and its predecessor, Punk Tactics, entered such heavy rotation that when I had the opportunity to see the duo this summer I was beyond hyped to hear as many songs from it as possible. What I didn't know was that they had Hyperyouth just around the corner, with the setlist having quite a lot of songs that I hadn't heard before.
Having heard some of it live before it even dropped did help my first listen of the album, even if it did slightly sour my experience of that performance in a "it could've been a song I was looking forward to seeing instead" way. What seeing some of its songs like didn't prepare me for was how much the album would take a turn towards the more mellow and emotional. Scattered alongside the expected high-energy bangers are songs about love, nostalgia, growing up, and I guess album number three, the first on a major label, is reason enough to want to find some space for introspection, but those songs are the ones I'm less inclined to revisit, but the two features from Rebecca Black and Jpegmafia make the most use of the bigger production budget for the duo's high-energy sound.
by RaduP
Freddie Gibbs & The Alchemist - Alfredo 2
[Gangsta Rap | Jazz Rap]
If Alfredo was so good how come there's no... yeah, that was too obvious of a joke. But it's also kinda obvious that Alfredo 2 happened because Alfredo was so good. Freddie Gibbs, as good of a rapper as he is, seems to put out his best stuff when he's collaborating with a producer for the entire album, somebody that can pull out the best from him. Piñata and Bandana, both with Madlib, were already career highlights by the time 2020's Alfredo with The Alchemist came along. And 2022's $oul $old $eparately and 2024's You Only Die 1nce were good but not up to that level.
Predictably, this album is more memorable than the two preceding ones I just mentioned. A lot of that does come courtesy of The Alchemist's production, whose jazz/soul samples looped do create a hazy atmosphere that's more in line with the abstract hip-hop style I usually cover. There's not a lot in terms of features, with the vast majority of the songs having just Gibbs on the mic, though it is Anderson .Paak on "Ensalada" and JID on "Gold Feet" that felt like the most memorable moments on the album, and its his lyricism alone that takes Alfredo 2 in a gangsta rap direction while the production tries its darnest to make it jazzy.
by RaduP
Clipse - Let God Sort Em Out
[Gangsta Rap]
RaduP's pick
Year after year it seemed like the thought of a Clipse reunion became more and more of a possibility. After a great ten year old run between 1999 and 2009, brothers [no] Malice and Pusha T went their separate ways, with the latter having the run that received the most attention since, and it would take another decade for the two of them to cross paths again. First appearing together under the Clipse name on a Kanye West (ew) record in 2019 before having No Malice guest on a Pusha T record produced by The Neptunes, who produced Clipse's original material, back in 2022. The necessary steps taken, we now have an actual fully fledged Clipse reunion.
Well, almost. Let God Sort Em Out is produced by Pharrell, who is only one half of The Neptunes, so there are certainly ways for Clipse to get Clipser. The music itself is very recognizably Clipse, but with enough of it feeling updated to the current day. On one hand the production by Pharrell doesn't feel as overtly clubby as the older albums and with more strings in the mix. Lyrically, though still being recognizably lyrics on a gangsta rap album, they feel more introspective and nostalgic. Features by the likes of Kendrick Lamar and Tyler, The Creator do help a lot, but just by itself Clipse show how they can write some killer stuff.
by RaduP
And that was it. You've made it through still alive. Congrats. See ya next month. Here's a YouTube playlist we compiled out of stuff featured here:
