Clipping. - There Existed An Addiction To Blood - VINYL LP

Daneshevskaya-the creative alias of Brooklyn musician Anna Beckerman-is an ode to the singer's Lithuanian familial roots, and while her music can be delicate and dreamy, it's underpinned by a sense of great ambition. Her first offering on new tag home Winspear, Long Is The Tunnel, features notable contributions from Lewis Evans of Black Country, New Road, and production work by members of the critically-praised art-rock band Model/Actriz. Over the course of the seven-track project, Daneshevskaya shares standout tracks like the delicately disorienting InchBig BirdInch and InchSomewhere In The MiddleInch-an oblique folk/rock track with compelling dynamic shifts.

Because of their mix of hellified gangster S**t and progressive compositions, I once jokingly called Clipping InchDeathrow Tull.Inch Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the InchcyberInch) with the lo-fi, D.I.Y. underground (the InchpunkInch), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through it's Golden Era, then melted into further forms it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better.What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on.On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a dif

Vinyl LP pressing includes . Since the of CLPPNG, things have changed for the band-William finished his Ph.D. in Theater and Performance Studies with a dissertation on experimental music, Jonathan composed scores for the films Starry Eyes, The Nightmare, Excess Flesh, and Contracted Phase II, and Daveed hit Broadway. Their activities outside Clipping have always influenced their work in the band, but never as much as in the creation of Splendor & Misery. Splendor & Misery is an Afrofuturist, dystopian concept album that follows the sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him. Thinking he is alone and lost in space, the character discovers music in the ship's shuddering hull and chirping instrument panels. William and Jonathan's tracks draw an imaginary sonic map of the ship's decks, hallways, and quarters, while Daveed's lyrics ride the rhythms produced by it's engines and machinery. In a reversal of H.P. Lovecraft's concept of cosmic insignificance, the character finds relief in learning that humanity is of no consequence to the vast, uncaring universe. It turns out, pulling the rug out from under anthropocentrism is only horrifying to those who thought they were the center of everything to begin with. Ultimately, the character decides to pilot his ship into the unknown-and possibly into oblivion-instead of continuing on to worlds whose systems of governance and economy have violently oppressed him.