Why this Los Angeles hip-hop group bans the words I and me

Cultures · Published 10 October 2026 Swipe more like this →

In short: Clipping is not your average rap act. By blending experimental noise with strict stylistic constraints, they have carved a unique path in hip-hop. Their most unusual rule? The lead rapper is forbidden from using first-person pronouns, forcing a narrative shift that has earned them critical acclaim and prestigious science-fiction nominations.

Formed in 2009 by producers William Hutson and Jonathan Snipes, the group initially focused on noise-heavy remixes of mainstream rap. When rapper Daveed Diggs joined in 2010, the trio began crafting original compositions that challenged traditional genre boundaries. Rather than viewing their abrasive, industrial-leaning sound as a rejection of hip-hop, the members see themselves as continuing a lineage of experimental production pioneered by figures like the Bomb Squad and Dr. Dre. They reject labels like noise rap, preferring to be categorized simply as a rap group.

The band’s creative process relies on rigid self-imposed limitations. Their instrumentation frequently avoids traditional tools, opting instead for field recordings and real-world sounds, such as breaking bricks or striking bottles. Most notably, Diggs adheres to a strict lyrical constraint: he writes exclusively in the second or third person. By banning the use of 'I' or 'me' in his verses, he forces the listener into different perspectives, a rule that does not apply to their guest collaborators.

This experimental rigor has led to unexpected accolades. Their 2016 science-fiction concept album, Splendor & Misery, earned a Hugo Award nomination, as did their 2017 single 'The Deep'. The latter track inspired a novel co-authored by the band and writer Rivers Solomon, which later secured a Lambda Literary Award. Whether they are scoring horror-inspired tracks or livestreaming protest music, the group consistently uses their platform to blend social commentary with avant-garde soundscapes, proving that hip-hop can be both intellectually demanding and sonically brutal.

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