Clipse returns with a vengeance on “Let God Sort Em Out.”
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TOP 5
5. So Be It II
On some real s**t, it’s the lyrics you’ll need to pay closest attention to on this one. Over a fierce, Arabic-influenced beat that throws more punches at you than Chris Childs, Pusha T and Malice trade verses laced with gritty reflections on street dominance, luxury, betrayal, and legacy. Their signature delivery—somewhere between irritated and untouchably cool—adds to the impact.
One of the most talked-about lines? Pusha T seemingly throwing shade at Travis Scott, claiming to have incriminating footage of the superstar: “Lucky I ain’t TMZ it—so be it.” What sparked that? Apparently, Travis acted like a whore around the time UTOPIA was about to come out. Yikes.
Between elite-level lyricism, haunting production, a sprinkle of controversy, and a hypnotic hook, “So Be It” is f**king irresistible.
4. F.I.C.O. (Ft. Stove God Cooks)
It was a close call between this track and “Let God Sort Em Out/Chandeliers,” but Stove God Cooks’ wild hook ultimately tipped the scale. While Pusha T and Malice deliver some of their most precise and focused verses on the album—riding the bass-heavy, hypnotic beat with unshakable confidence as they reflect on past street missions, betrayal, and the code of silence—it’s Cooks who flips the track on its head. Singing like a drunk Wyclef, he injects a chaotic charm with vivid, almost poetic recounts of the highs and lows of street life. The contrast between Clipse’s surgical intensity and Stove God’s unfiltered, melodic energy makes this track a standout.
3. P.O.V. (Ft. Tyler, The Creator)
“P.O.V.” is the kind of track that immediately grabs your attention with its kick-ass production. The beat, crafted with snarling synths and dusty, grimy textures, feels like it was made for the Hoodie Melo in all of us. Pusha T opens the track with a sinister, schoolyard-style chorus that reminds me of every horror movie opening from the ’90s. As for his verse, it is delivered with this sluggish, cold precision, like a villain who has his enemy tied to a table with a laser inching closer to their body. The drug references, luxurious flexes, and icy threats are all wrapped in a flow that slips through the beat like a blade through silk.
Tyler, The Creator delivers the most grounded performance on the track, but still carries his signature darkness. With his villain-esque tone, he takes aim at someone who tried to sue him, imagines God playing him in his biopic, and declares he’s done believing in heroes. Just when you think the track has reached its peak, the beat flips into something that sounds like it came from another galaxy, setting the stage for Malice to deliver a massive closer. His verse is confrontational, calling out fake rappers and reflecting on his return with a conviction that feels earned. Overall, this might be the most commercial track on this project, but it’s not commercial-sounding at all.
2. Ace Trumpets
If you’re not in a high tax bracket, this one might fly over your head. “Ace Trumpets” is drenched in opulence — from designer shopping sprees to iced-out diamonds to luxury-loving women. Of course, no Clipse song is complete without a healthy dose of drug talk and elite-level lyricism. They even throw a few subliminal jabs, with possible shots aimed at Kanye, and offer competitive bars that feel like a warning to their peers.
What makes this comeback so special is that they sound just like they did in the early 2000s — polished, hungry, and in sync. Pusha T delivers his lines with signature sarcasm and swagger, while Malice keeps it steady with his grounded, head-down flow. Together, they make “Ace Trumpets” feel like a proper return to form.
1. Chains & Whips (Ft. Kendrick Lamar)
From the very beginning, “Whips and Chains” grabs you by the throat with a heart-pounding, twisted instrumental that sounds like a mash-up of championship boxing intro music and the soundtrack to a psychological thriller. Pusha T kicks off the track with razor-sharp delivery, sounding like a heavyweight champ pacing in the corner, ready to swing. He brags about his opulent lifestyle, calls out the envious, and fires direct shots at a certain unnamed rival who’s ducking the smoke. Every bar hits like a jab to the face, and the intent behind each line feels deliberate and deadly.
Malice enters next with a verse that feels downright villainous. His tone is icy, his rhymes laced with eerie calm, and his message clear—he’s embracing his shadow era and is willing to cross some morally gray lines to reassert dominance. The darkness in his bars is matched by his controlled cadence, painting the picture of a man who knows exactly who he is and what he’s capable of.
After a brief and strange interlude that feels like a Pharrell commercial break, Kendrick Lamar slides in and completely hijacks the track with a stunning closer. He begins introspective and whispers, reflecting on the twisted experiences that have warped his worldview. Then, in classic Kendrick fashion, he flips the tempo and morphs into a manic, more aggressive version of himself—his voice rising, cracking, and zig-zagging through internal chaos. He claims the West with conviction, throws out the kumbaya narrative, and makes it clear that he is the darkness, not just someone who survived it.
This song is f**king amazing.
SONG-BY-SONG RATING
1. The Birds Don’t Sing (with John Legend & Voices of Fire) (4/5)
2. Chains & Whips (with Kendrick Lamar) (5/5)
3. P.O.V. (with Tyler The Creator) (4.5/5)
4. So Be It Pt. II (4.5/5)
5. Ace Trumpets (5/5)
6. All Things Considered (with The-Dream and Pharrell Williams) (3.5/5)
7. M.T.B.T.T.F. (3.5/5)
8. E.B.I.T.D.A (with Pharrell Williams) (3.5/5)
9. F.I.C.O. (with Stove God Cooks) (4.5/5)
10. Inglorious Bastards (Ft. Ab-Liva) (3.5/5)
11. So Far Ahead (with Pharrell Williams) (4.5/5)
12. Let God Sort Em Out / Chandeliers (with Nas) (4.5/5)
13. By The Grace of God (with Pharrell Williams) (4/5)
RGM RATING
(84%)
What makes this Clipse comeback special is that it doesn’t feel like a reunion for nostalgia’s sake. Malice and Pusha T aren’t trying to recapture old glory; they’re pushing it forward, crafting a body of work that reasserts their dominance while proving they can still innovate. The lyricism is dense, the flows are unpredictable, and the subject matter? Still raw, still unfiltered, and still aimed at those who dare question their pedigree.
The cohesion between Pharrell’s eerie, cinematic production and the duo’s razor-sharp verses is jaw-dropping. It’s almost like they picked up where they left off—but with more venom, more confidence, and a clearer sense of purpose. Clipse aren’t just here to participate in the rap game—they’re here to shake it up. The boldness of their targets and the darkness of the themes make this album feel like a private event, where only those tapped into their world truly get it. And that exclusivity? It’s part of the allure.
In the end, Let God Sort Em Out is a triumph—not just because Clipse returned, but because they returned on their terms. They didn’t chase relevancy; they demanded it. It’s an album made for those who still value lyricism, originality, and raw energy. Whether this is the start of a new run or a final curtain call, it’s proof that when Clipse speak, the rap world still stops to listen.
Quincy is the creator of Ratings Game Music. He loves writing about music, taking long walks on beaches, and spaghetti that fights him back.
