Clipping (Daveed Diggs, William Hutson, and Jonathan Snipes) are very story-oriented. They deal in ontology and narrative as much as beats and rhymes. Across six albums, along with countless singles, remixes, and collaborations, Clipping has been approaching making music like writing science fiction since the band’s conception. Two of their records have been nominated for Hugo Awards (one of science fiction’s top literary prizes), and a novella spun-off from their music was nominated for a third. As Clipping, they’ve collaborated with as many of their fellow experimental noise artists as they have fellow rappers. While their last few projects have been record-long concepts like the classic prog rock of old, new album Dead Channel Sky is mixtape-like, a carefully curated collection of songs in which every track is a love letter to a possible present. Like a mashup of distinct elements, the overall concept is there, but the result is brief glimpses into a world rather than an overview of it. 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 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 different timeline, the survivors of armed audio warfare. That war at thirty-three and a third, its atrocities imprinted upon yet another generation, what someone once called, “the presence of the significance of things” without a hint of ambiguity.