Dissect - Clipse is Back! Breaking Down 'Let God Sort Em Out'

Episode Date: July 14, 2025

Dissect's Cole Cuchna and The Ringer's Charles Holmes unpack the long-awaited return of Clipse and their new album, Let God Sort Em Out. Was it worth the 15-year wait? The duo share first impressions, breakdown their favorite lyrics and tracks, discuss Pharrell’s full-album production, and what makes Clipse still sound this sharp in their 40s and 50s. They dissect the emotional depth of “Birds Don’t Sing,” Kendrick Lamar’s controversial "Whips and Chains" verse, Tyler, The Creator’s dream feature, and how Pusha T and No Malice balance grief, flexing, and lyrical mastery in their most personal album yet. Host: Cole Cuchna Guest: Charles Holmes Audio/Video: Kevin Pooler 00:00 So Delicious Ad 00:33 Clipse Opening Thoughts 04:34 The Rollout 12:58 First Impressions 14:56 The Birds Don't Sing 23:09 Chains and Whips 26:54 Kendrick's Feature 33:46 Kendrick "Gen" Breakdown 38:02 POV & Tyler's Feature 46:30 So Be It 52:00 Mike Tyson Blow to the Face 01:01:12 So Far Ahead 01:04:50 Last Song Standing Preview Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Welcome everyone to a special episode of Dysect. I'm your host, Cole Kushner, and here to talk about Clips' new album, Let God Sort of Mout, is the most culturally inappropriate guest I could find. Yuck! The push a tea to my malice, Charles Holmes. How are you doing, buddy?

I'm doing so well. This is like, this is my group. This is my type of music. That negativity. That great. it, that grit, that, oh, I'm so excited. Also, you are my malice. You are like the heart, the soul. You know what I'm saying? You just would be looking at me in interviews being like, here you go again, talking that shit. I'm just quietly put, put like very politely just watching you go

off. Yeah. Well, yeah, we're here to talk about Clips's new album. Charles, you're somewhat of a super fan, right? Give the audience a little bit of taste of your, your Clips fandom. I heard, I might have heard you say one time they're your favorite rap group, maybe even above Outcast? That's true? Personally. I'm not, I'm not saying that like they're the better group. I'm not ready to have that conversation. But in terms of personally, my taste, Clips is that group for me. It's everything I love about rap. And it's funny. My clips fandom, like I can remember watching the grinding music video on on MTV. But it wasn't until really college

where I just became just a super fan. That was around the time that Pushy Tea was with good music and he was releasing all those albums. And I don't know what it was about that time of my life, but every single album, the mix is everything,

I can't get enough. Were you a Clips fan? Because we've talked about this on Last Song Standing. You had that weird time when you went to college where you completely dropped off with pop music.

and you were super in your classical bag. So were you a fan of Clips? I was actually. My best friend was like a super fan of Pharrell, Neptunes, and clips. So he turned, and this was pre-college days. So he turned me on to clips pretty early on. Like I remember the albums coming out in real time and listening to him with him in real time. It's interesting.

They're one of the groups, though, when you listen to him when you're young and then you return to him, you did like when you're younger, at least for me, like you didn't, I didn't realize everything they were doing. especially lyrically sonically i was always drawn to like neptune's production and it's so obvious how far ahead of their time the neptunes were in terms of of production but lyrically going back to those albums and then now with this new album it's just like these guys are just fucking masters they're so good and you want to know what i think also is funny i think we're now at a time with this album where we're respecting clips as lyricists where they've all to your

point. They've always been this good. They've always been this lyrical. But I just, if you would have told me back when I heard the grinding beat, that they could release an album in 2025 and still sound fresh. That's the, that's the what's different. Like, this is no shot at Nas. Nause sounds old on this record. And you know what I mean? Like, he's, his flow, like, he, Nause is a, is a G. He is the, one of the greatest ever. But struggles sometimes to sound contemporary. To me and my ear, I'm like, oh, Push-a-T and Malice still sound contemporary. They still sound fresh. They still, like the beats, Ferell, I was, before we get into our first depressions,

that was one thing where I was like, damn, they're 50, late 40s still rapping so well. It's pretty incredible. And yeah, I think we'll talk about a little bit of, like, hip hop and it's maturation and living with some of these artists and seeing Eminem age one way and seeing maybe clips aging another, seeing an Andre 3,000, aging on a whole another sphere. And just like, yeah, let's save a little bit because I want to start with, we're going to talk about our favorite songs. We're going to talk about the features. We're going to talk about production. But I want to honor the rollout a little bit before we get into the actual album. Because I don't

know about for you, this was one of the most enjoyable rollouts in recent memory for me. it's I think a lot of it is a product of them having this record recorded for over a year and maybe just having the time to kind of strategically plan it out. But it just seems so tasteful in terms of like who they are talking to, the outlets they chose to talk about, what they chose to talk about in those interviews, the way the visuals and the everything was just the, obviously the songs were great,

the music videos were great. And it just seemed like everything was just the, even the tempo of like, We would get something every week, it seems like, but it never felt like they were overdoing it, which you can kind of, you know, like wasn't, didn't feel like a big budget rollout, but it did feel very strategic and like, to me, very effective to the point where like nowadays, I actually don't like long rollouts because it seems like the artist or the people around them kind of struggle to carry momentums for months in the way that they kind of used to. But this one felt totally, totally great. Are you an agreement on that? I mean, as someone who came was cut from this clock, like music magazines, radio interviews, I think the funniest thing about this roller is, like, music used to be like this.

Like, when you were going to promote a record, you would do an interview with Rolling Stone, with Billboard, you go to the New York Times, you would have your radio run. And what I love about this is, I think, and I remember when it started happening, in my life with the weekend. I think the weekend was influential in a bad way where, oh, mysterious, we don't know his name, we don't know his face, no interviews, no this, know that. And I think along the way with social media especially, artists wanted to take back control of their narrative to such an extent.

Why should I have to give an interview when I have my own Instagram, when I have my Twitter, when I can have my own TikTok? But what I think this rollout has hopefully taught the industry is that clips were never big-selling. You know, they have hit records, but they've always had a story to tell. And the thing that's so enjoyable going and listening to this record is I can listen to a podcast interview, which was phenomenal, and then I can have a greater understanding of the music. Even songs I don't enjoy, I'm like, but the story behind it was so good.

They're painting like, oh, we were out in Paris with Farrell, and this is what it felt like, and everybody who was working on LV, was crying, and this and that. I think more artists need to understand that that only helps the music. Talking to experts, talking to people who love this shit only makes my appreciation for the product deeper. Yeah. And also how to get like a little bit of everything. Because when the raw it started to happen, it was like the Travis Scott beef and the the yay lines. And it was like, you know, we got a taste of like some, we got some tea.

You know, it was enjoyable. Yeah. But then, but then you started getting more of the. quality interviews, the more meaningful interviews, and seeing them together again was just great and just push is just such a great interview. Like he just doesn't give a fuck. He just he'll just say exactly how he's thinking. It's just there's an authenticity to both of these guys that is just so enjoyable. I mean, I'm not the first one to to notice this. I'd almost probably watch like every single clips interview. And the face that malice makes when push a T gets into that zone of

talking his shit. Because in every interview, Pushit T will say something that is so fucking funny. Whether it is about Kanye or Travis, he called Travis. He's like doing his little monkey dance. He was like Kanye. He's like, I don't respect him as a leader. I only like his music. Every single, whether it's Jim Jones, whoever. And just malice being like, all right, you got, you got my little bro going again. All right. You, here we go. But also, what's funny, too, is have you noticed in some of the interviews? You can see when Malice is like, this is exactly why I left the industry when they start bringing up Drake and shit. He's like, God damn, another thing, which is fascinating. I know, yeah, he doesn't seem as enthused with the press run. And he, I mean,

to his credit, he kind of just lets push take over for 90% of it and just drops gems when he feels like it. But also, the fact that this album was made in Paris at the Louis Vuitton, headquarters is just when you think about how they came in the industry with like BAPE and then ice cream and kind of being an icon early icon of streetware. And now the ascension of Feral and clips alongside them. Just the symbolism of that, because to your point, like in 2004 or whatever, could they,

can you imagine them making a record in 2025 that would sound this good? And if you knew back then that they would be recording it in the, literal Louis Vuitton headquarters or something so beautiful and poetic about just that just that symbolism. I mean, I could not agree more. And it's funny, do you think that rappers even have that much power to like, when I was growing up style, you know, whether it was like wanting to wear rock aware, because that was what Hove was wearing, or everything that the clips did with Farrell where it was like when I was a kid, I could not afford the clothes. But BAP, BBC, ice cream, like push a tea and mouse were part of that. I would see them on like covers and interviews.

And I'm like, these are the coolest any rappers ever fucking looked. And that's something that I miss now where I'm like, it's not that same thing where it's like you would see what a rapper was wearing. And as a kid, I was 12 just being like, fuck, if I could just get a babe hoodie, I did the coolest person. Did you have an all over hood or Oliver print hoodie? No. My parents were now fucking with that. They were just not, I had, you know what, I had some of Yisu jeans. I had some LRG. You know, I had a little bit. I wasn't, like, I wasn't pulling any of it off. I looked like a dork. But that is something where it's like, you probably remember your friend who was into the clips. I guarantee you, he was sold on the entire image, the entire brand that they were selling. Yeah, we were in, we wanted to be just like them. We didn't have enough money to be, but, and we were white, but. So, you know, there's, there's limitations to. the imitation but yeah for sure they were feral especially was just i mean still so cool but back then

my god but even because feral too like i've been very very off feral for a while because it's just like he he's always an icon he's a legend but i think he's been in a very like i'm above the fray i'm not going to beef with drake or or like i'm not going to do all that and i was watching the complex cover video where they were kind of breaking down all the the songs and we finally got to see feral talk his shit like we got like you were like oh ferell he pays attention he knows people think he lost it and he just like the look on his face like hearing his own beats listening to the clips rap i'm like oh this is the feral that i grew up on this was the like in my mind talking shit a fly as hell feral that i love to see i want i wish feral gave us more of that energy uh moral

often because it's something we don't get in. Yeah. And you can tell he was genuinely inspired to make this project. Because one of my worries going into it was like, you know, when you get to, to be the designer of the head designer of Louis Vuitton, it's like, how much time do you have to make an album? Yeah. You know, and it's like, was he going to be spread too thin? And to his credit, I don't know if he's working with other guys and stuff. But I mean, these beats sound phenomenal. They sound rush.

They sound polished. they sound. I mean, in that interview, he's talking about all the polishing that he did to every single sound, every single beat. I love the fact that the album's 13 songs and 40 minutes long. The perfect length in and out. Every song is quality. At least not yet. I'm not reaching for the phone to skip a song. Like the track list plays beautifully. So as this jump into our first impressions of it, we talked a little bit offline, you know, about it on Friday, when it came out. We kind of had similar thoughts, but now we had the weekend to kind of take it in. I've been playing it nonstop. So what do you think now? What are your general thoughts on it now?

I love the album way more than I did first listen. And my first listen wasn't, I think what was happening is what's hard with clips is that so few rappers get to this point where push a T's late 40s, malice is in his 50s, Pharrell is is getting up there. And my affinity for Lord Willen,

hell hath no fury, those beats, those rhymes, with any clips record, I'm kind of like, is it going to get there? Is it going to get there? Yeah. And then I put the song on and like I put the album on in my car. And it finally washed over. I was like, oh, fuck, yes.

This is, this is it. This is what I wanted. It took the car ride to be like, they still fucking happen. They like, here and so be it. Mike Tyson blow to the face. I roll my windows down. I haven't felt this excited.

I remember I was texting you. I haven't felt this excited since, what should we call it? Kendrick dropped, what you call it? Biggest song of the year. Not like us. Yes, not like us. That was a fit. Like, I literally was just like, I cranked Mike Tyson up.

I rolled down the one. I'm like, everybody in my neighborhood. It's a greatest day of my life. I am very high on the record right now. What about you? Yeah, same. I think, I mean, you know, one of the catches with a long rollout is that there is all this anticipation and like you're putting a lot of pressure on the album to live up to this three months of buildup. Yeah. So I think, I mean, I was impressed with the singles for sure. I love the singles. I was like wondering if the, you know, the rest of the album live up. I think it does. I think that what was jarring for me actually was the first song. Lost in emotion, Mama's youngest. Trying to navigate life with our.

my compass, some experience death and feel numbness, but not me, I felt it all and couldn't function seeing you that day. Birds don't sing. It was just, you know, you have expectations going into the clips album. You have expectations after hearing the singles and knowing

they're kind of, they've, I think their sound has matured and evolved, but it's still, the core of the clips is still, you know, central to the entire thing. And so you put it on, and I was not expecting this one of the most powerful, beautiful songs about grief and your mother's,

your parents passing that I've ever heard. Like it was, it was just kind of a lot right away at, you know, 7 a.m. in the morning or whatever I put it on. It was just not what I was expecting. And so it just like, I don't know, it just kind of like threw me off. And then it took me a little bit to like sink into the album. I mean, can I ask this? I think both of us were leaning towards like, this is a beautiful.

song. I love this song. But was it the right move to put it first? And listening to the record more, I was like, oh, there is this narrative thread of loss of grief. There's lines here and there. And I'm like, I kind of now understand it. I don't know if it 100% works, but it gives me a greater appreciation even when they're talking their shit. Sometimes there's a couple lines where like push a T's talking about his wife having a miscarriage and the thought of his son growing up, not knowing his grandmother or like malice talking about like rolling the sunroof down and pointing to the sky that's where his father is and I'm like those lines wouldn't have hit as hard if you don't really start the album with this is what's happened in our life this is the biggest thing

that's happened to us in decades and I mean it's there is a question of like okay these guys are pushing you know malice is 50 whatever and and pushes right there about to be 50 And it's like, are they just going to do the Coke wrap thing? Are they just going to do the luxury thing? I think putting it first was in part to answer the question of like, why are we making this album? Because we have something to say. Because we have dealt with things like loss and grief. We have lived life for 15 years and now we're coming back and we generally have things to talk about and we have matured.

We do have new things to add to our sound. I think kind of setting that precedent. it's so boldly, not subtly, it's impossible to not to hear that song and not be moved by it, I think, if you're really listening to it. Some of the best lyricism I've ever heard,

especially about a subject like that. Just the storytelling and them getting so specific of, you know, push. And it's a song that only they can make, really, because they share the same parents. They are brothers and they each come with their own perspective. One,

Push talks about his mom. and like his last memories of her and like the regrets that he had and the final moments of like missing out on the signs that she it seems like she was clearly preparing herself to leave and and and he was going on vacation or he's going to Elon and Kanye to go visit Elon and Connie instead of visiting her and not spending her last Thanksgiving with her like that it's just crushing and that's just the specificity that he's telling the story telling it and then malice comes with the story about his father And like the moment he finds his father dead and goes to his house and knocks and he's not answering. And then you get one of the most powerful lines in the entire album, maybe the most powerful line in the entire album where the final line of Malice's verse, he says, the way he spelled it out. And this is another reason actually. So Malice kind of tells us why he came back in the final verse and the final lines of the second verse of this song. He says, I can hear your voice now talking about his father. I can feel your presence asking, should I rap again?

You gave me your blessing. The way you spelled it out, there's an L in every lesson. Boy, you owe it to the world. Let your mess become your message. So this album we have, you know, their parents to think. Like he gave the blessing. He's the one that told him to do it. And then he has that the final line where he says,

I love my two boys, was the code to your phone. and if you go on the genius annotation. I almost started crying when I read that annotation. It was so like I got chills and even to your point. Well just for the listeners

so in the annotation, Malice says when he's going through his father's things, he found that all of his passwords to like his to his passwords on his computer and his phone were literally I love my two boys which is just so sweet,

so endearing. So it and when we're talking about how the role last, added to to this album. When Malice in a lot of interviews, he was like, I went to my dad, who's a deacon in the church, to ask his thoughts

about should I rap again? And he was like, I was caught off guard because he was like, son, you've been too hard on yourself. And just to like, just to hear that and then go into the record and see Malice moving and rapping in a way

where I'm like, oh, part of that hunger is because this man that he loves so much that was so influential was just like, yo, you got to share your gift with the world. This is the greatest thing that you do. Like, come on, you're being too hard on yourself. It's, it's so much, I don't know, it's overwhelming. Now, can I ask, does the John Legend hook work?

Because I don't know if it does. Well, I've just never, I'll say up front, I've just never been a big fan of John Legend. It's just not for me. So I think the melody works for me, understanding like the sentiment of the song. It's hard to critique it because it is so personal. And, and, you know, so it's like, but is it for me exactly? No.

I mean, no. Well, here's the thing too. I think why it's so jarring for me is a couple of things. I get why it makes sense. Obviously, there's a good connection. I'm someone who like, I was also a fan of everything good music did. I listened to the first John. I listened to a bunch of John Legend records.

I was a fan. But what's weird about the clips, if you think about it, most of their, like, big poppy stuff, they usually do for other people's records, like Signorita, Justin Timberlake. Signorita wasn't on a clips record. Usually, especially with those first two records, you're not really having singers on that shit, you know?

Right. Songs like Whamp, Whamp, Virginia, all this stuff. Maybe you'll get a little bit of, like, a Pharrell melody. But even Push-a-T was telling him. funny story when back when the Neptunes were first coming up and they started popping before the clips

when they got the beat for grinding, pushing T was just like, hey, yo, this ain't this? Like, where's the hook? Like, where are you singing? You're singing for Hove, you're singing for this, but like, we want your melodic. They've never been that. Clips have always been rap first. And to start your, your album back

with John Legend is a little bit as a fan. I'm like, this is, this is and it's almost reminiscent of Push-a-T solo career, because that's when he started to work with the Dream More and Kanye. And that's also a thing that's kind of running through this record is I'm like, oh, Push-a-T changed as an artist since the last time that they were together. So, yeah, it's, I don't want to be an asshole. John Legend did do a bad job.

It's just, yeah, yeah, yeah. It was like, oh, John Let's just on this? I was like, okay. Yeah, I mean, it's a lot. I mean, it's a big way to start the album. It's, I mean, will I listen to that song all the time? I'm probably most of the time

I'm probably going to start with chains and whips because when I put on a clips album maybe I'm not looking for that right away. So, you know, so let's get into chains and whips

because this song is fucking phenomenal. Uncle said, niggas, you must be sick. Choke my nipa and ice my bitch. This is culturally inappropriate. The beat. The beat is insane.

It is insane. And then the, hooked, dude, like just, so let's just talk about their writing because it's like I've been reading through the lyrics all weekend, trying to pull out some stuff to dissect. And it's like, close your eyes and point in your finger. And it's like, every line. It's literally every single line is so well written, has doubles, internal rhymes. Like there's just, and like, and the articulation of both of them is unprecedented. These guys, like, the way they just enunciate words is just so, beautiful and just, I don't know, so potent.

I will say kidding, but don't, don't gloss over that. Because that's, that's a real shit. The thing that differentiates clips from so many people is that shit is crystal clear. Every word, every line, you can tell what they're saying. And that's honestly why I've always loved them. Because that's, if you really go through the history of rap, name me other rappers who are able to do everything you're saying and still make it crystal clear still like and it almost can I ask you this does the enunciation almost make what they do seem easy where it makes it seem simple like it makes

it seem more simple than it is and then you read the lines and you're just like oh there's like fucking three fucking thing like double like what is happening it does feel easy if I mean especially at this point in their career they're just veterans kind of like just this is second you can just tell this is like breathing for them but then yeah you go. into it and it's deceptively simple it sounds because it sounds so effortless when they deliver it and but yeah the enunciation well i think they are able also they able to enunciate so well because they're such great what writers yeah when i started digging into the lyrics you just the economy of words in every single bar it's like there's not there's no fat in any words they execute the

idea with the minimal amount of words every time and so when you don't have the fat to try to you know, all these extra syllables that are kind of clunking up your flow. It's like every once they find the pocket, it's like they are, every line is going to fit that pocket perfectly or they're going to, you know, and they don't stay in that pocket for the whole verse. They'll change it to pocket up. But once each pocket is just so immacately and just like carefully, every word is just calculated and considered.

And then when you like, just the lyricism of like, or even like the concept of chains and whips is like, We've heard that concept in hip hop. Like that there's how many rappers have, you know, done the slavery flip. But it doesn't feel like recycled. It feels fresh in this context for whatever reason.

When he said, you must be sick. All you talk about is just getting rich, choke my neck and ice my bitch. Beat the system with chains and whips. Chains and whips. It's just like, it just gets the people going.

What is also push a team by favorite line on this is what reality TV is my wrestling. Because the people who don't know, this is a, this is a D. Push a T's, push a T's verse verse is going at Jim Jones, who they had some, they add a little thing back and forth.

And when you know it's about Jim Jones and you go back and read the verse, it's the reposite, whatever the first opening line, something about reposet, you run from repossession because his house, he goes, his house got repugged.

It's, but we like, so vicious. You know you. You are, you are the Kendrick Scholar. of the world. I need that instant reaction on the verse. What did you think? The two time Gemini with the genocide. I'm generous. However you wanted, I'll be the gentle

kind. Gentleman and gangsters connect. The agenda. I'm mine. Move knickers up out here. This shit gets gentrified. Heavy jeans like. Okay. I'm kind of mad about this verse, to be honest. Okay. So it leaks. I do not listen to leaks. And so when it came out, I saw it leaked. And I was like, I'm not listening to it. And then, of course, the timelines flooded with like the gen. There's gem. There's like, you know, blah, blah, blah. He's doing the rhyme scheme from nostalgia, but he's flipping it. And so I was like, okay, now I know, like, there's just no surprise and everyone's building

it up. And I still didn't listen to the leak. I was like, I want to hear it within the album. I want to be surprised when he comes in. And that was, it was just ruined for me. And so when I got to his verse, I was so excited. But it was like, it was just too much buildup. There was no way for it to live up to like all the hype that I saw.

And so I was just like, I wouldn't say disappointed, but it was just like, The experience of it was ruined for me in a way that I just was, I don't know. New, you are literally talking about my life for people who don't know. I have another podcast called The Bin Night Boys, and there will be times where I'm just like, you'll just get something ruined for you. Just like, oh, I don't know. Because to your point, I do think the other thing that we're talking about is this song was first premiered at, uh, for else first LV show. If I remember, yeah, where clips were actually walking down the, uh, the, the, uh, the, runway. So in my mind, I was like, yo, Kendrick is on. Like, I think there was already

rumors like, Kendrick is on this. So to your point, this has been months and months and months of being like, where's this? And we didn't talk about the death jam at all, but that was the holdup that push a tea, according to Pusha Tea and Malice, Kendrick did this verse right around when the beef was heating up. And Def Jam, essentially, according to them, was censoring their lyrics. They did not want Kendrick and push a T on the same record because of their standing beef with Drake because of the lawsuit that Drake is, that Drake has against UMG. And I'm like, how can a verse honestly live up to all that drama, if that makes sense? There was already lore around it that you're just like, what get what is this first you're going? And what you get it?

You're like, this was what got them censored? So according to clips, you know, this is all allegedly. but it was the last line of Kendrick's feature that they said they were uncomfortable with, which the last line is, Trump card told me not to spare your life. So they claimed, clips claimed the depth jam claim that they didn't want to have any beef with the administration. They didn't want to allude to the assassination. Because I think from my reading on this verse and the story that you just related in terms of this being done, post beef

but but pre-GNX essentially my reading of it because it is so political he starts off about like I'm not the candidate to fuck with

and then he talks about Trump and there's all this political stuff it sounds like it was written right after the Trump assassination in the middle of the election is my interpretation of it and so but like

essentially the Trump line was just Def Chime's excuse but the real thing was the Drake beef and not then wanting these two guys that have now demolished Drake in a rap battle to join up and seem like they're going at UMG's breadwinner but to their credit to people that don't know

they bought themselves out of their contract with Def Jam and then now release this independently which is beautiful and a distribute yeah they partner with Rock Nation the distribution deal with Rock Nation but own the Masters which is great. I think that's perfect for them. It seems fitting.

I mean, not spoilers or to step on anything, but I think the fans don't know this yet. You think Tyler had a better show it on this, on this album than Kendrick. Is that true? I think it is true. I think it is true. But, okay.

I don't agree. I don't agree. I don't agree. I don't agree. I actually like the Kendrick verse. That's like, like, I never thought it happened. I really, really enjoyed this guy. I like, I like, let me like the state.

It's a phenomenal verse. It's a phenomenal. Okay, and I got to go like, just let me ISO because I've gotten tons of questions about this. So let me just address some of them. Okay, so there's a big, there's a theory going around that Trump, or that Kendrick is rapping from Trump's perspective. This was put out by Jeremy Hecht, the bigger picture, great podcast with DJ Head and Elliot Wilson. So check that out if you haven't. But he proposed the idea.

And I'm not sure how, if he was just kind of. proposing it or he's really sold on it. But he made some correlations of like, Trump's a Gemini as well, the illusion of genocide, saying that he's this candidate. And he kind of pointed at the Pentagon line and like kind of singled out some of these lines and offered the idea that he's rapping from Trump's perspective. I personally, after kind of analyzing the verse, I don't personally subscribe to that interpretation. This, I think he was, it was more about the time in which it was created and seeing a parallel between this kind of election of Drake versus Kendrick being this parallel election with Trump.

And I think it was written right after the assassination. And so there is allusions to Trump, but I don't think he's, it doesn't make sense to me why he would be rapping like as Trump. And it doesn't hold to me it doesn't hold up. Is it just so is this just your kind of typical rapper state of the union where this was almost like Kendrick's capstone of just like this is why I did everything. Like this is like this was the state of hip hop and this is why I had. to basically be like,

as someone who loves this shit, nah, let's take you. You have to think like he wrote this over a year ago, thinking that it was going to come out, you know, so he's riding post beef and almost did like a watch the party die, like a epilogue type.

And it's like it's a part victory lap, part like here's why I did it. Here's this. You know, we're now taking for granted that Kendrick is on this kind of like, um, I don't know, vindictive kind of,

you know, he's on this kind of cutthrow energy. that he has since post the beef, but you got to remember, pre-beef post-moral, we all thought Kendrick was like either going to leave the industry altogether, or he was going to be on this like therapy, I'm healed. Like, let's love everybody thing. So it's like, there is some explaining here that we are taking for granted now that we know kind of what he's been on for the past year.

But let me break down. So the famous thing about this first is that he's doing this gen rhyme scheme where essentially, I think it's like eight bars in. He starts the two-time Gemini with the genocide, and every line has one gen flip, if not two. Most of them have two, which because he's playing with this idea of two-time Gemini with the genocide. And so this is a play on, I think most people are also interpreting it as a play on his nostalgia verse, which is he had the 10 scheme, the 9 and 10 scheme. So it's 10 with push a T and nostalgia.

And now it's Jen on the clips album. so there's that connection there. I like that. And also, okay, so I give you my breakdown on the nostalgia beat or nostalgia lyricism where it's like all the nines and tens add up to 87 and 1987 and 36 being,

there's all these numeric, like really brilliant numerology stuff in it. So of course, I'm going to like be count, I literally count, of course, I counted all the gens. And I was like, is he doing it again?

Here's my working theory. I wanted to propose it to you. Because this is the only thing I got. He might not just not be doing numerology thing. That could just well be the case. But if he was, here's my best guess so far. I counted. He did.

He does a total of 22 gen rhymes, starting with Gemini Genocide. So there's 15 true gens like true G-E-N-S's, but the total scheme, there's 22 rhymes. And if you look at where that actually starts, the rhyme scheme starts with the two-time Gemini with the genocide, two-time, 22, 22-22-22 gens, two-time Gemini, you know, the duality of Gemini's 22, two-time Gemini. Are you buying it? I didn't lay it out eloquently there, but I think that I might be on to something. I don't know. What do you think? I actually am right now.

Wait, so is he, is he trying to basically do a like, also two sides of the clips, the malice, the push, two, two? And yeah, and it's, I mean, he lays it out right there. I mean, this is classic Kendrick. He says, two-time Gemini with the genocide, I'm generous. However you want it, I'll be the gentle kind. So on one hand, the Gemini is genocide, but also gentle. So you're getting the duality, right? This is this is good Kid Mad City.

This is pit butterfly caterpillar. This is Kendrick. You know, this is what he does. But so that's what I need to think about it more, but I think I think that's what it is. 22 playing on the two-time Gem. Okay. That's a good. I'm dissecting.

Okay. Also, is this a layer? A couple of more possibilities for you. G-E-N. Gen. Gen. G-N-X. You're not selling me on that one.

Here's how he ends the verse. God gave me light. A good year. full of free wheel Trump card told me not to spare your life. Good year tire, free wheel, spare tire. Alluding to GNX. I spoke. So the gen.

The Gen. GenX, maybe. I don't know. I mean, here's the thing. And when it was recorded, potentially was he thinking, oh, they're going to drop this shit right before G and X.

And it's a little bit of a teaser before he gets to the album. Perhaps, perhaps, perhaps, I don't know. Ooh, the last connection, I'll just throw out there, which I didn't come up with. I saw it on the internet, but G.N. Gene is Malice's real name. So, and, you know, 10, Terrence, you might make a connection there, but I don't know. I'm not as sold on that one, but I'm very impressed. I'm very, here's the thing. You're making me love the Kendrick verse and I already love it more than you. So, yeah, okay. So I like to, I love it. It's Kendrick. I love it. I just, I'm still getting over the buildup and the letdown of a verse that had too high of expectations.

But okay, let's move on though. Let's move on to POV next song. I don't buy back. I've top all these lists. Where's my prize at? 60 day stars in 20 year,000 nests. Not enough shopping. Whole lot of browsing is my reinvention.

Tyler gets a feature. But before we get to the Tyler feature, I love this song. I love push a tease just like. nonchalant, like just extremely disgusted at just, there's so much broke shaming on this album. That's why I love Push-a-Tee. It's just so disgusted. But here's the thing. This is why I think Push-a-T is great because Push-a-T-is-a-tee, he's disgusted with people,

with the realities stars on Zeus Network. He's disgusted with these streamers out there. I love Push-a-T because, like, there is this side of him where he's just like, I need to call him. call out what I feel is corny in the culture. And he does it is such a way where I'm like, yo, what's the thousandaires? What's the first? This actually might be my favorite line of the entire album.

All I see is 60 day stars and 20 year thousandaires. So good. Not enough shopping, a whole lot of browsing errors. The only out here is driven by my outfit. Like, dog. Yeah, the Audi is a good car, isn't it? That's what makes it so funny because it was like, yo,

I was driving in my fucking Toyota Corolla. I'm like, yay, say nothing about my car. Can I remember my Mazda? Wait, can I say what my favorite, one of my favorite malice lines from this is? Oh, yeah. I done sung along with rappers I never believe, came back for the money.

That's the devil in me. Had to hide it from the church. That's the jekyll in me. Oh, my God. Like, malice is spas. on his record. Yeah, more often than not, I think Malice has the best verse on. Well, but also what's interesting to me, even though Push-a-Tee is like a top-five rapper

to me. If I had to make my top-five rapper list, push-a-tree is in there. That's how much I love Push-a-T. But I find it so fascinating how much he, all the little things he has to do, where malice, I agree with you. I think Malice is versus he's outwrap and push, but Push is doing a lot of the hooks. He's leading off the song. He's like he's kind of setting.

You can tell that what it's allowing malice to do is that there was this interview that he did with Ebro. And Ebro was the only one who brought up that he was still releasing music as no malice. And you could tell at that moment he's just like finally someone like people acted like I was I wasn't here. And you can just feel that edge on on the record of malice being like, no, you guys forgot who I am. Because I think even historically, most people would say that malice was the game. The better rapper. And I would say push a T was the more entertaining rapper. Is that fair?

I think so. I think so. Yeah. I was going to ask you about your, you notoriously have a complicated relationship with beat switches. And Malice's verse on the POV, it comes after Tyler's and there's a beat switch. He doesn't wrap,

you know, his entire verse is over a brand new beat at the same tempo. Did you like that, did you think this beat switch was effective? Yes. because it didn't feel like a gimmick. This piece switch was amazing. And this isn't, I love beat switches.

I do. I just think they've been used too much. Where it's like almost a lot of times it doesn't feel like the beats switch is adding to the song. It feels like two separate thoughts. And it just feels like they wanted to show us that they could spend a lot of money and do something.

Where it's like, Ferrell is the type of producer. If he's going to do a beat switch, it's going to be for a reason. It's going to sound good. Malice sounds incredible on this. And if I could be real about, Tyler as well, I have a complicated relationship with Tyler, but like, yo, if you can think of any rapper right now that is more indebted to clips, for real, a child of the Neptunes, a child of that sound, you can tell Tyler's like, y'all are not outrageous. I'm like, Tyler, dear, I ain't, I hear you like this. That line that Tyler has about a dirty white like mosh bits, oh yeah, insane. Insane. Insane. I'm like, yeah. Tyler, I know you how to do you.

He understood the assignment. I mean, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, a cause play. And I mean that in a good way. Like, I'm like, he's been waiting his entire life. Exactly. You know Tyler's story. Like, he's been, yeah, this is a, this is a, a pinnacle moment for him.

It has to be, right? Like, and he met the moment. I think he blends perfectly in. It also makes me want, like, I love Tyler's production. I think one of the most, you know, you know, you know, and stand out important things about him is that he produces all his own music. But there is a part of me that wants a Tyler, the creator, mixtape where he's rapping on other people's beats like this,

just just wrapping nothing deep, just like go off. Because like, can you imagine an album like this or an EP like this? And I don't know, just made me real. What I want is actually different. I think I want the Farrell produced Tyler record now, where Tyler doesn't even touch the He's just, because here's the thing. I love Tyler. Like, I think Tyler is a really, really, really good producer.

But because he's a producer in his own right, it's very rare that we get to, like, hear him for an extended time over other people's production. Can you imagine if Farrell was like, all right, I'm going to give you like that shit. Well, that's what I was saying. Like, I want to hear him on other people's beats, not his own. Oh, I thought you were more so, like, in mixtape. I thought you were just like, hey, yo, I want to hear him on the grindy bee. I want to hear it. Oh, no, yeah, you know, yeah.

Just original production. Oh, okay, because I was like, damn, I don't know if I want to hear like, Todd the Crater over Metro Boom and I'm like, Cole, I can't go sign that one. I was confused. Yeah, he's, one of my favorite lines on the entire album is the last four lines. I need God to play the lead in my biopic. The curse of the zeros. When you become the devil or the tap dancing Negro, I came to terms with, I'm a probably, or I came to terms that I probably outgrow my heroes. like the curse the zeros the devil the god like he's playing into the clips kind of iconography just so perfectly and he gives you that yeah at the end it's just so perfect so who who is this verse directed at because tyler was real quick to be like a yo he topped on to him he's like nah don't don't a cardi right yeah because there's a line about nor there's a line about you got suit over

feature. Yes. Which sounds like it was Cardi, right? Cardi? Yeah. I think that's what he was alluding to on Twitter was like he had an old friend suit, essentially, I think it was a cease and desist. And that came out. Like when Chromacopia came out, there's a Cardiverse on the vinyl physical record. The sample pressings of the vinyl has a Cardi verse on one of the songs. And apparently Cardi, this is all allegedly, but like apparently Cardi sent a some desist for it. So people are speculating. It's that. I'm going to be honest.

I love me some Playboy Cardi. Playboy Cardi don't need to say anything to Tyler. Tyler, we'll impact that. I love Cardi too. Don't attack dissect people. I love me some Playboy Cardi. I never want to hear Playboy Cardi in a beef ever.

Yeah. And then, I mean, I came to terms that I'm probably going to outgrow my heroes. I mean, I don't know when this verse was written, but like, you know, Kanye has been taking shot to Tyler. That's what I was, that who was what I wanted to ask about, I'm like, I thought that this, a lot of this was some like, some Kanye, like, no, I saw, because Kanye went on that Twitter rant about how Tyler don't have no, like, classic songs or whatever he was fucking saying. And I was just like, hey, I got to give it to Tyler, like, shit.

And that's also the thing that I love about clips. They bring out the hate. and everyone that touches their record. Kendrick, Tyler, they like, oh, now I can talk. Hell, yeah. Yeah, I've been just thinking, like, you want a Clips record if you're a rapper? Like, just get your hate off.

Okay. So be it. So be it. This is one of my, this is my second favorite song on the entire. What's your first favorite? Or have we got there yet? We're going to go through, I think probably like three more like we just did.

All right. Let's do so be it. Okay. All right. So I mean. Oh, yeah. go ahead. One of your favorite songs. This record plays so well in the whip, okay? The first night, we got to discuss it. You weren't awake. So I played this at like 12. That's how much of a fan I am.

I'm like, I stayed up until I was just like, boom, boom, boom, boom. Playing it. I hear the beat, because they had it released the CDQ for so be it. You could only listen to it on like YouTube, Instagram, Twitter, whatever. So I was like, I can't wait until this is on Spotify. I hear so be it part two. I'm like, oh, we get into a whole verse, no hove verse. I'm like, okay. The beat is trash. I'm sorry.

I'm trash. I think the so be it part two beat isn't trash. Just compared to the original. When I'm like, how dare y'all? How dare you? Because I, and then I think within, within hours, maybe it wasn't even hours. They had uploaded it. Have you heard any reason why they switched it?

I have not. And I haven't gone in, I'm sure it's somewhere, but I haven't gone and looked. or listen to the part two yet. So maybe part two will grow on me, but so be it, it's just. What was different about the beat? Do you remember? Was it like four? It was very like just a lot more instrumentation, a lot busier.

But was it, did it have the same lead and everything? Did it sound like the same sample source, or was it totally different? I've only listened to it once. So like, it's foggy. All I just remember is like it still kind of sounds like so be. It's all the same lyrics and whatever. It was just very orchestral, very ornate. very, very busy in a way that like this oh be a beat, the, the OG one is just crystal.

It's so sparse, but every element is just like it hits. That hook riff is so good. That that. Yeah. Hey, there ain't on secrets. So be it. Smoke. So be it.

So be it. So be. Wait, wait. I got to go to some of these lyrics really quick. Give you a sec. Yeah. And while you're pulling those up, I think this is like my ideal clips hook. Yes.

Yes. Just give me the, give me the catchy, the catchy instrumental lead and just push saying so be it so be like just so simple. I think like one of my criticisms, very few criticism of this album is like some of the hooks I'm just like not crazy about. I'll do respect to for But there are some of the hooks of his I'm just like I don't know Wait let's have let's have the talk real quick Okay not to get not to not to all right

I agree so be it is the plot the platonic ideal Of a clipsock My problem with this record Is that for as good as Ferrell sounds production wise The singing voice is it's tough. And here's the thing. I know what it is.

Nobody get mad at me. I've listened to music. We all know. Sometimes that falsetto don't be hitting them notes. That's part of why we love it. Part of what Farrell sells is a vibe. Like you sometimes you don't like,

you listen to old whole records with Farrell and you just like, you could get a better singer. I wouldn't want a better singer. Farrell, as the producer, knows exactly what the hook needs generally. But I think as he's aged, it's a little spotty.

And there are a couple ferell hooks on this where I'm like, this isn't it. Or just for me too, as like, the hooks just sometimes just felt unneeded. Sometimes it's like,

do the doom approach. Just two verses in and out. And just no hook. No hook. I know, I know Clips does hooks traditionally, but like some of these songs, I'm just like some of them don't,

I would say a lot of the ones that like, Pharrell is on to your point. I'm just like, all you need to do is take off. is Farrell hook, and the song becomes like 25% better. And once again, Ferrell did an amazing job on this. I just think also what we're probably talking about a little bit is that

Farrell has kind of been lost at sea in recent years in terms of what he does musically. When can you say, what's the last great Farrell beat that you can remember of like the last 10 years. Yeah, off to top, I don't know. I have to think about it. But yeah, to your point, yeah. And that's nothing.

Here's the point. He's at LV. He's been doing it. Yeah, yeah. He's evolved. He's doing movies. He's doing soundtracks. Like, yeah.

So while the production I think he locked in on, I think he as like, because that was a classic thing about, about clips as well. When Farrell would arrive on their track, it was an event. And sometimes I feel like when he arrives on these tracks, does it, does it have that same eventful feeling?

Yeah, maybe it was, and maybe it is a little oversaturation. Maybe instead of, you know, six tracks or whatever he's on, maybe maybe of those three, they would feel more impactful. But he's, you know, he has a consistent voice across the entire record. So can I, can I, can I tell you what my favorite song is? Did you want to, did you want to call out any so be it lines or you want to move on? Oh, yes.

I found it. Okay. Push it. He has this line. and I think it is one of the slickest lines and if you blink you miss it fuck around and get your body trace trying to test me because the diggers that I'm

with like to draw what is sketchy this is the only line I have pulled out from So be it is exactly that couplet. That couple is and once again I think clips better than any rapper in the world can do couplets like that where when I say it's like it's easy

when I first I was listening to So Be it so many times and it took somebody on Twitter like just posting the lyrics and I was like fuck and that they are just so good at those just very there's one line that uh malice has that's

like very very simple on one of my favorite songs is you niggas is screen writers we dream writers took change and touched change like King Midas dog I got it I got that I have that I have a

that's like my one like kind of in-depth breakdown so let's get there Mike Tyson blow to the face. Well, let me before before we get there, though, let me. So because you read it kind of fast, I just want people to understand the wordplay there if they didn't catch it. So fuck around, get your body traced trying to test me. Traced starts this drawing motif.

Yes. And words that I'm with like to draw when it's sketchy. So draw like literally drawing a sketch, but also drawing guns because there's a sketchy situation. So you get the trace, draw and sketchy. it's like it's not overly complicated but it's just so perfectly written so perfectly delivered again you got the you get the sketchy like oh shit's getting problem at like it's just it works on so many different it's so good okay um mike tyson blow to the face you niggas is screen writers we dream writers took chains and touch changed like king mites

imitation is flattery they seem like us but only 300 bricks can make you Leonidas my old plug This was my favorite song on first listen. It might still be my favorite song. Is this your number one? This is my number one song on this album. I think it's the best rap song of the year. The Biggie Flow, the beat. I listened to the snippet of this before it came out thousands of times.

I was like, where was the snippet? I missed that. So they gave Push Ittee's whole verse. was posted and I think it was when they were promoting the album. I forget around what time it was, but they have kind of like this music video of this black cowboy running through the streets. And I just like looped it and looped it. It is, we have to kind of like dissect the rapping on this, the flow on this, the economy of it.

Okay. One of the all-time great clips lyrics, the Bezos of the Nasals. I had this as well. That is five words, but really just two words because it's the and of and the again. But it's really just Bezos nasals and like how perfect. Again, economy of words. That is a perfect bar for clips. It explains everything about them.

Also, would you say that this is what you were kind of talking about where they don't need this hook to do. much. Oh, yeah. This is another perfect. This is another perfect. Because it says it's essentially just like part of the verse they repeat. Yes. And that's that to me is the perfect clips but verse or hook is just take take the catchiest part of your verse and make it the hook. Repeat it. Like that's simple. Like but the word playing the hook is is so good. Like she want Mike Tyson blow to the face obviously like there's just a ton. It's not even just like to blow Mike Tyson being a boxer. But also Mike Tyson, like, was a Coke, was on Coke.

Yes. You know, at his height. So it's like, even within that, there's like multi layers. But then you know, you forget, like there's internal rhymes. So it's like they're rhyming Tice, the Tice and Tyson blow and face. So it's Shalom ice. She wants the snow on a plate. Half price when the blow is in the crates means more ice for the moes and the A.

So they got a triple rhyme scheme throughout all four bars. There's an entendre on entendre at all is playing on this ice motif with the snow and it's just like it's so perfect like such a good and then I mean there's like there's some lines the snow alone fill up a mobile home my niggas name ring like mobile phones and no one's home that eternal rhyme the slickness of it like it just hits you in the fucking gut bro what's the Leonitis line mouse's Leonitist line is so good. Yeah let me get I'll get there. But we got it one of my favorite lines too. White back-to-back rolls at the gates, white slave masters, souls in my safe. Oh, my God. Oh, sorry.

Like the bands are just like, how excited are they going to get after? I don't know. Yeah. I mean, again, you can just like put on a blindfold, point, put your finger out of lyric and just, it's going to be great.

It's going to be perfect. Like every single line. But okay, malice, this might be like the verse. of the album. Are you going to break down for us? Okay. Yeah. So it's like it's like the whole like last part of his verse because he keeps going back to these motifs. Okay. So it's you end words is screenwriters. We dream writers. So remember screenwriters as a motif. Okay. You took change and touch. We took change and touch chains like king midas. King Midas being this Greek, Greek mythology,

everything he touched turns to gold. Yeah. He's flipping that as their come up story, rags to riches, all that, you know, took these poor circumstances, transcended them, touching chains. Imitation is flattery. They seem like us. So that, remember imitation motif? Okay. Only 300 bricks can make you Leonidas.

So that rhyming king bitus with Leonidas. So you have this kind of mythology, like timeless tales and tying into the kind of clips mythology you, they always play with. 300 being, uh, obviously a movie about Leonidas and this, was it the Trojan, Trojan army,

Sparta army? No, it was a Spartan army. It was a Spartan. King of Sparta. Yeah. Um, but 300 is a movie calling back to the screenwriters, uh, opening bar of the sequence.

Uh, he says, my old plug asked a new plug to reunite us. D class in my ears now. Let me see you bite it. So ears plays on the next line. She want. Mike Tyson blow to the face.

So he's talking about declass diamonds and its earring. Let me see you bite it. Calls back to the imitation as flattery motif from two lines before, but also sets up Evander Holyfield and Mike Tyson, the biting of Mike Tyson's ear. So we're getting the imagery of that, tying in and setting up the hook that's about to come. And then one of my favorite, again,

super simple and clean. I'm talking 96 hove with the base. It's just such the perfect end cap on this. obviously parallel stories with them and hove base being an entendre on base in your car and base as in cocaine just like perfect just perfect all these threads the the screenwriter the movie motif the imitation mike tyson the blow like i can do this for every fucking line is the point though i mean even the line i love this line but god only knows my intention but selling dope is a religion it's like selling dope is a religion yeah man

Alice, relax. You still got to go to church, bro. Relax. Or even like pushes flow where he's doing the white python Milano with the taste. Mike Tyson blow to the face. But then he switches the flow, twist and turn these guns. Whoa, no. That is my way.

Twist and turn these guns, but they're going to get. Like that is the thing that I think they're also really good at is that they're students of the game. You know what I'm saying? They're taking flows that they're. taking flows that they grew up on that they like and then twisting it in their own way they're it that is also what I think sometimes the maybe the over excitement about this album where I think that this album is very good but I think what we're actually celebrating is so few rappers now are this intentional where it's like they want to give us 20 25 songs yeah the song sound rushed the

sound rushed, you know, it's just like when they're rapping to your point that you brought up earlier, it's not tight, it's not considered, there's not cupless, there's not all this internal rhyme. This is a song that I, like, what I say is like deceptively simple, to be able to have these flows switch them in and out, this clean, this enunciated is really, really technical work. Even like when Pusha and Malice, we're talking, about for out producing the record, a lot of times they would hear a beat and they'd be like, oh, fuck, how are we going to wrap on this? How are we going to find the pocket? That's why I honestly think clips might be the most talented group able to wrap over for all beats because he can

throw his most like sparse alien. If you just heard it, you'd be like, what is this? And they can just kind of locate exactly what it needs. Okay, to that point, I'll just call out the technical nerdy shit on so far ahead. Is it that so far ahead is that like gospel? Yes. Kind of sounding chorus. And he's talking about being so like, it's such a classic

Farrell dichotomy of just like stunting, but like singing like this gospel, essentially sounds like it belongs in a church. Wait, is that one where he goes, they don't know what it is when I want it. Yeah. It's like, comically good.

And then, but that song is in six, eight time, which Farrell tries to give like, there's not a lot of rap songs in 6-8 time, which is more of a swinging type, kind of a seesaw feel. And it's like, if you don't, if all you're used to is rapping 4-4 on the beat,

like someone will give you a 6-8, and they just won't know how to rap on it. Yeah. But to the, to your point, like, they find, they find a very unique way to wrap over a 6-8 beat in a way

that, like, they don't know that they're probably rapping on a 6-8 beat, but Farrell just hands them this thing. and they're like, yeah, how am I supposed? Where's the groove? Like, this isn't, you know, it's not entirely with my comfort zone, but then eventually they find the groove,

and it's great. Behide. Swerving through the lane, serving niggas can't still ain't never hit a pie hole. If I was Brittany Griner, I'm a needle bomb. Only one to swap a chapel. Furthest from the streets.

There's like the contrast between the gospel chorus of that song, like that song to me, that chorus works to me. It's comical and like over like, it's almost like too much, like comically too much Ferrell's hook. I love the contrast

between that gospel sound. I used to hate this song and it grew on me. Okay, yeah. The gookiness of it. It is kind of goofy, yeah.

It's goofy, but then once you kind of like, you listen to it and you're like, oh, yeah. And to your point, I love the verses on this. I love the flow that they,

like the pocket that they're in. Yeah. Because to your point, you almost have to surrender to the beat. You know what I mean? where you almost have to that you can feel push and malice once they find the flow that can work on the 6-8 they're just like you feel like you're in good hands and that's what i've always felt like with clips is that the other thing we haven't talked about i think clips have some of the best voices for rapping yeah i think they're voices and just like the texture of it and the cleanness it's like cocaine it's clean it's basic just oh man sorry i'm You've never seen me like this. This is like as giddy as I think I've ever seen you.

It's beautiful. You're like a notorious cynic and I'm always the optimistic one. And it's kind of, it's kind of weird. I mean, does it surprise you that one of the most negative groups is my favorite? Yeah. Okay. Yeah, that makes total sense. Well, on that note, well, thanks for coming on the show to talk about the clips.

I think we covered a lot in an hour. I'm going to probably do more dissection. So people that want me to break down more bars, I'll have probably at least some shorts on TikTok and Instagram come in. But we should plug Last Long Standing. So for those that don't know, me and Charles have a podcast called Last Long Standing that publishes on the dissect feed every year.

The premise of the show is that we pick one artist, first season when it's Kendrick. Second season was Frank Ocean, third season was Outcast. And the premise of each season is that we, We tried to, by going through their entire discography episode by episode, album, we try to determine that artist's single greatest song. So it's essentially like an extended album or song bracket. We talked through every album, every song, nominate our favorite songs for each album.

We'll look down until we can, me and Charles have to agree on their greatest song of all time. So we have a new season of Last Song Standing coming two weeks, essentially two weeks from when this episode drops. So it's coming right after the morale season. And do we want to reveal? We're going to mix up the format. Is that all I should say right? That's all you should say. But what I want to tell the audience is I think you're going to love where we landed the season.

Because I'm in the gym getting like text from Cole being like, yo, what is this? Like you, there is a certain artist that you complimented where I was like, I never thought I did this at a hole. I've never actually been going into a season. I've never been more interested in your takes that you're going to have. You know what I mean? For like kind of what we're cooking up this year, I was like, oh, we're going to hit some records that I don't think we were ever going to be able to hit.

Yeah. Yeah. I'm excited. On this. So, yeah, we'll have the trailer a week from today. So you'll know what the premise of the next season is. and then it's going to premiere. I'm coming down to LA to record in the studio.

So it'll be our first video podcast. But thank you, Charles. Don't thank you. It's been an honor, man. Yeah, everybody, I'll see you later.