The day finally arrived, the one that many rap fans had been waiting for. The Clipse have returned. Their new album, Let God Sort ’Em Out, marks their first reunion since Malice stepped back into the spotlight. After a highly effective rollout complete with a “leak” that had people buzzing and interviews across key platforms, Clipse are once again the most talked-about rap group in the game.
At a time when rap groups are a rarity, the fact that The Clipse still exist feels like a blessing to the culture. They’re a reminder of just how powerful a skilled duo can be when it comes to shifting the music landscape.
As a casual Clipse listener, I found myself swept up in the excitement too. The core, Malice, Pusha T, and one-half of The Neptunes (oh yeah, Louis Vuitton’s Men’s Creative Director, Pharrell) have been crafting classics for years. Their fingerprints are on plenty of playlists, and Let God Sort ’Em Out is their latest offering.
Clipse pay tribute to parents
The album opens with “The Birds Don’t Sing,” an emotional gut-punch. Both brothers dive deep, reflecting on the loss of their parents. The track feels like two personal letters, Pusha to their mother, Malice to their father.
Pusha spills his grief:
“Lost in emotion, mama’s youngest
Tryna navigate life without my compass
Some experience death and feel numbness
But not me, I felt it all and couldn’t function”
Then Malice cuts deep with:
“Your car was in the driveway, I knew you were home
By the third knock, a chill ran through my bones
The way you missed Mama, I guess I should’ve known
Chivalry ain’t dead, you ain’t let her go alone”
Opening with that level of honesty? Bold. It’s clear they’re laying everything on the table, unafraid.
Next up, “Chains & Whips” featuring Kendrick Lamar, and it’s rap at its finest. Three masterful emcees over a minimal, haunting beat. Kendrick appears like a boogeyman, dropping a rhyme scheme that could humble even the most celebrated poets. He blacks out.
Pusha slides back into his luxury lane on “P.O.V.,” flexing with the kind of coke raps only he can deliver. It’s rich, extravagant, and slick. Tyler, the Creator jumps in here too, matching Pusha’s energy with ease, talking that money talk like a seasoned vet.
Chemistry is on point
The brothers’ chemistry remains unmatched. Malice is razor sharp every line feels intentional, every breath counts. Pharrell’s production throughout the album is strong, though I did catch myself raising an eyebrow at the initial version of “So Be It II” that dropped on Apple Music. I preferred the original cleaner, more focused. The updated version felt too noisy, like it was doing too much when the verses needed space to breathe.
Interestingly, the label later swapped the song out, replacing it with the original. A quiet correction, maybe, but one that echoes the feeling I (and clearly others) had. Sometimes less really is more, and it’s telling when the powers that be seem to agree.
And yes, people were hoping for a Jay-Z verse. It didn’t happen. But we did get a solid feature from Nas, which felt like a fitting nod to hip-hop’s core.
So, did the album live up to the hype? In many ways, yes. Their voices are necessary. Still, I can’t help but wonder what Chad Hugo could’ve added to the production. There’s something irreplaceable about that classic Neptunes x Clipse synergy.
Bottom line: Let God Sort ’Em Out is a powerful return, a reflection of pain, glory, and legacy. I give it a 9/10—a near-flawless statement piece from a duo who never lost their edge.
Standout Tracks:
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“The Birds Don’t Sing”
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“Chains & Whips”
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“P.O.V.”
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“Let God Sort ’Em Out / Chandeliers”
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“By The Grace of God”
