Clipping.’s Dead Channel Sky crashes in like a dial-up modem screech ripping through a quiet room—jarring, nostalgic, and impossible to ignore. This fifth album from the Los Angeles trio—Daveed Diggs, William Hutson, and Jonathan Snipes—plunges into a cyberpunk-inspired sound thick with industrial noise and electric tension. After a five-year gap since Visions of Bodies Being Burned, the group returns with a project that’s less about horrorcore’s blood-soaked tales and more about a dystopian pulse, wired with glitchy synths and relentless beats. It’s a dense, chaotic ride—sometimes overwhelming, often thrilling—that pulls you into a world where technology hums with menace.
The sound hits hard from the jump. The “Intro” opens with that modem squeal—a gritty nod to ’90s internet days—before “Dominator” locks in with a pounding kick drum and distorted edges sampled from hardcore rave tracks. The beat throbs like a warehouse party on overdrive, all jagged and unyielding, while Diggs’ rapid-fire flow slices through with a steady, commanding bite. It’s a track that feels alive—electric currents sparking in every direction. “Change the Channel” follows with a different kind of aggression—breakbeats slam down like hail on concrete, paired with synth tones that flicker and stutter. The energy is frantic, almost disorienting, as if the music itself is racing to escape a collapsing digital grid.
The mood across Dead Channel Sky hangs heavy with unease—a neon-lit dystopia where surveillance cameras blink in every corner. “Run It,” clocking in as the longest cut at five minutes, builds a chase scene with deep, rolling bass and skittering percussion that never lets up. Diggs’ voice weaves a narrative of a dealer dodging unseen eyes—his delivery sharp and relentless, painting a vivid picture of paranoia without softening the edges. The track pulses with tension, the kind that knots your stomach and keeps it there. Contrast that with “Keep Pushing,” where piano notes drift over lush strings—a rare moment of calm amid the storm. Diggs even sings on the chorus, his voice lifting above the fray, though the respite doesn’t last long before the beat snaps back into gear.
Structurally, the album sprawls across 20 tracks—a mixtape-style collage that shifts gears fast. Interludes like “Simple Degradation (Plucks 1-13)” and its sequel “Plucks 14-18” rattle with disjointed noise—think of a computer short-circuiting, spitting out jagged plucks and drones. These brief sketches add texture, reinforcing the cyberpunk vibe, but they pile up too thick at times, cluttering the flow. Tracks under two minutes, like “Go” with its throbbing synths or “Code” with its hacking-culture spoken-word snippets, spark with ideas but often fade before they can dig in deeper. It’s a trade-off—variety keeps the album dynamic, but the constant pivots can leave you grasping for more.
Standouts shine bright amid the sprawl. “Mirrorshades pt. 2” crackles with glitch-house beats—repetitive, hypnotic loops that pull you in, layered with stylish verses from Canadian duo Cartel Madras. The track dances on the edge of club-ready and chaotic, its energy infectious even if it cuts off too soon. “Dodger” races with drum-and-bass rhythms—drums pound fast, a glitchy synth hook twists in the mix, and strings swoop in at the end like a cinematic flourish. It’s a chase through a neon jungle, breathless and alive. “Ask What Happened” closes the album with a slow build—breakbeats tighten like a vice, a dreamy synth line creeps beneath, and Diggs’ verses stack into a raw history lesson. The tension mounts until it’s almost claustrophobic, then releases in a final exhale—exhausting yet satisfying.
Guest spots add extra juice. Aesop Rock’s turn on “Welcome Home Warrior” brings a wordy, off-kilter flow over pop-tinged chords and industrial thumps—his presence quirks up the track without stealing the focus. Nels Cline’s warped guitar on “Malleus,” an outro to “Dodger,” distorts into dissonance, stretching the sound into something eerie and jagged. Tia Nomore’s hook on “Scams” worms into your head—simple, repetitive, and sticky over a beat that knocks steady in the background. These additions keep the album unpredictable, each voice or instrument twisting the vibe in fresh directions.
The production, helmed by Hutson and Snipes, leans hard into electronic territory—more so than clipping.’s past work. Where Splendor & Misery floated in sci-fi space and Visions roared with horrorcore grit, Dead Channel Sky buzzes with techno-inspired noise—think ’90s rave floors or video game soundtracks gone rogue. Tracks like “Mood Organ” shift from abrasive kicks to melodic swells, while “Polaroids” layers vocal samples into a hazy, evocative hum. It’s a sound that’s harsh yet deliberate—every glitch, every thud feels placed with intent, even when it risks tipping into overload.
The mood ties it all together—a world of digital decay and restless energy. The album’s cyberpunk lens isn’t subtle—songs grapple with surveillance, control, and the grind of a tech-saturated life. “Scams” thumps with a street-level edge, Diggs and Nomore trading lines over a beat that feels like it’s prowling the shadows. “Welcome Home Warrior” dips into virtual escapism, its lighter tone undercut by a creeping unease. The interludes amplify this—static and distortion hum like a city’s underbelly wired to collapse.
Challenges creep in with the bloat—20 tracks stretch the runtime, and some, like “From Bright Bodies,” tease ideas that don’t fully land. The noise can wear thin if you’re not locked in, but when it connects, it’s electric. The sound never backs down—industrial beats, glitchy synths, and Diggs’ relentless flow create a barrage that’s alive with detail. Dead Channel Sky is a wild, immersive dive—messy in its sprawl, but gripping in its execution. Clipping. crafts a future that’s loud, tense, and impossible to turn away from.
8.5/10
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