Few hip-hop albums are truly avant-garde, but Clipse’s long overdue album, Hell Hath No Fury, is just that.

After four years away from the industry, the Virginia rappers have returned with more energy and determination than ever. Clipse’s brotherly duo, Gene and Terrence Thornton – or better known as Malice and Pusha T – teams up again with The Neptunes on the outstanding Hell Hath No Fury, the follow-up to 2002’s Lord Willin’.

Known for tough street rhymes and Neptunes beats, Clipse first gained widespread notoriety with the single “Grindin.” Since then, the brothers have been the victims of a business deal gone wrong. After its label, Arista, merged into Jive Records, Clipse was forced into a contract dispute and suffered multiple album delays. Legal efforts to end the contract dragged on unsuccessfully for four years, but that delay was not all bad – Clipse’s sound has evolved and purified.

“Sorry to the fans but the crackas weren’t playin’ fair at Jive,” declares Pusha T on “Mr. Me Too,” the album’s first single. No Fury is imbued with a fervency unseen in most commercial hip-hop, with lyrics full of strong jabs at phony rappers and fake females alike.

Like their debut, Hell Hath No Fury is heavily laced with lyrics about the pair’s drug-dealing past. However, unlike the majority of rappers, Clipse speaks about narcotics from a realistic, gritty perspective. “Open the Frigidaire, 25 to life in here/ So much white you might think the Holy Christ is near,” raps Malice on “Keys Open Doors.” Whether the song is apologetic, as on “Mama I’m So Sorry” about guiltless spending on “Dirty Money” or a tale of danger on “Nightmares,” Clipse spits a genuine spectrum of drug tales.

These songs work because Clipse has greatly improved its writing in the past four years, packing each line with a strong message. Astounding similes display the duo’s creativity and sense of humor, while the two brothers do a good job of complementing each other’s lyrical direction. Neither catchy hooks nor featured guests dominate the album. Slim Thug, Bilal and Pharrell drop a few lines, but not enough to steal the show.

To match Clipse’s evolved flow, Pharrell and Chad Hugo of The Neptunes have truly outdone themselves with the beats on No Fury. Perhaps the most notable aspect of the album is the extremely diverse instrumentation – there is no sound left unturned, no key left untouched. Accordions form a bar-ending sample on “Mama I’m So Sorry,” calypso drums and bongos reminisce a kung-fu movie on “Wamp Wamp (What it Do).” A harp and a haunting, sustained high note define “Ride Around Shinin,” and vividly dark choral vocals create a sinister backdrop for “Keys Open Doors.” Sounds never before heard in pop music somehowblend to compose extraordinary beats, creating a production that flows well with the album’s subject matter.

No Fury only has 12 tracks, but brevity is not a problem. The album has enough complex tracks and lyrics to keep listeners satisfied. The message may not appeal to those unfamiliar or not welcoming to street rap, but the production should attract all hip-hop fans. Though it may be a few years late, Hell Hath No Fury should have Clipse back where it belongs: on top.

Contact reporter Nikhil Joshi at joshidbk@gmail.com.