Snippet.

http://rapgenius.com/Supa-bwe-thot-goddess-izanagi-lyrics

"I be like free me, how'd you bind me
I've been hiding, how'd you find me
Tired of fighting
Tired of trying
I lost an eye once
IZANAGI   (Repeat)

Got these demons
All in my body
Coke and molly, Lust and monsters
I used to love her, as she was mine once
I lost an eye once, Because I, see no equal

Fuck everybody, all people
I cant kick with a snake or a weasel

Lay with your weakness, Pray if you sneak diss
You lame and conceited, this conquest I need it

THOT GODDESS, WHAT SHE NEED, GOD BODY x4
It's what ever, i'll, never be better
I'm Apex forever, Show me my opponent 

THOT GODDESS, WHAT SHE NEED, GOD BODY x5
THOT GODDESS, WHAT SHE NEED, IZANAGI"

dead

Thot Goddess (Izanagi) Prod @ZenZanBeats

Lead Single off of, "It's All A Matter of Perspective EP"

Produced By: The Architect
Mixed By: Leon Kelly & The Architect
Additional Vox: Yasmin
Bass Gtr: Mitch


Sickening

*this song is dedicated not only to my beloved mother, but to all the women out there strong enough to raise a young man* i love you ma!



Sun&Moon

You are my sun
You are my moon
You are my sky
You shaped my view
You gave me wings
That I grew into ::

Remember the song you sang to me
when I was only a seed?
Honing My dreams & creativity,
Believing in things that I could not see.

You always knew what was best for me
Even if I was to stressed to see
I know im so bless, you see.

You and pops showin' off the recipe for LOVE.

Lately doubts steady clouding up my emotions.
You are always standing proud, ready and supportive. 
The reason i believe in changing seasons being important.

Like the payment on the mortgage
I know that timing is important.

You are my sun
You are my moon
You are my sky
You shaped my view
You gave me wings
That I grew into ::

Sun&Moon (Prod. Nate Fox)

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VIDEO

DEJA VU FT. EBONY TUSKS (PROD BY P. MORRIS & TOM RICHMAN)

Our new track “Knees On The Ground” might benefit from an explanation. This is the most unguarded I ever intend to be when writing about Clipping.

What had happened was this: our very brief UK/Europe trip got called-off the day before we were supposed to get on a plane to London. Since we didn’t have any other plans, we met up in the studio with an idea to crank out a new track. On our list of songs to finish was one particular piece aimed directly at the club (or, at least, our twisted idea of what clubs should play). But none of us were in the mood for it. Each of us had spent the previous several days following the news of protests in Ferguson, MO. It was the only thing on our minds. We couldn’t bring ourselves to think about anything else, so we decided to direct our fear, our revulsion, our heartbreak into a new track.

The problem was that we’d defined our band — in interviews and to each other — as decidedly-not-an-activist-project. Diggs’s lyrics have been criticized for seeming apolitical, at least in comparison to what many listeners (perhaps rightly) expect to hear from an ‘experimental’ rap group. I have many times said (perhaps naïvely) that our politics lie in our structures, in our formal engagement with the rap genre. We love its conventions, its clichés, and we’re not above them. We see our participation in rap as something resembling an old punk flyer — an out-of-context collage of charged images with an fractured, contradictory, multiple point-of-view. I hope that our more dedicated listeners hear this and understand that we’re not interested in spoon-feeding them a position. At the same time, I’ve always assumed that they pretty much agree with us on most issues anyway. (We have yet to meet the misogynist, homophobic, white supremacist Clipping fan with an MBA and an NRA membership).

So what do we do when all we can think about, all we can feel, is a profound injustice — yet another young unarmed person of color is murdered by a police officer? How does a band, which overtly rejects affect and the emotions, address something that is, for its authors, a deeply felt, deeply affecting topic? Well, we don’t entirely know. But the fact is: there’s more truth in Diggs’s lyrics than we generally let on. “Inside Out” describes a drive-by shooting in Oakland, “Chain” is about three stick-ups. They are presented with a lot of detail and specificity (perhaps the result of personal experience). But at the same time, they represent archetypal scenarios within rap music. One trope we had yet to explore as Clipping was the anti-police rap — the lineage of Public Enemy, NWA and Paris, straight through The Coup, and all the way into the ‘stop snitching’ panic of the early 2000s. “Knees On The Ground” is a paradigmatic white-cop-kills-an-unarmed-black-kid-and-gets-away-with-it tale — a story that happens all the fucking time in the US. What we have learned — from our first hand experience in Oakland in 2009, and from the media coverage of Ferguson in 2014 — is that the second part of this story involves a police response better suited to a war zone than to an American city. Cops think they’re playing Call Of Duty when they’re supposed to be part of a community. If Ferguson were in Iraq, Obama would have sent in an airstrike already.

This is the least obtuse Diggs’s lyrics will ever get. We’re embarrassed by the timeliness of this track. We do not intend to capitalize on what is, undoubtedly, a terrible tragedy. But journalists make think-pieces and we make songs. Writers write what they know, and this is what we know right fucking now.

— William Hutson, Clipping.

Knees On The Ground

Khori⁴, Show You Suck and @HurtEverybody 's Mulatto have teamed up to bring you "Black Guise"

Follow us on Twitter: 
@Khori_4
@ShowYouSuck
@MulattoBeats

Khori⁴ x @ShowYouSuck - "Black Guise" (prod. @MulattoBeats)

Sun&Moon (Prod. Nate Fox)

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