It’s his elusive nature; It’s his encapsulating bars; It’s his irreplicable flow; It’s his god-level production; It’s Clairmont The Second; And it’s all in display with Hands. The Toronto rapper who is as unparalleled in his broad artistry as he is in his underappreciated position in the game, is more than freakishly talented, but ultimately, groundbreaking, trendsetting, and dynamic in the way that he achieves his always fluid sound. Certain signatures always let a listener know who’s on the mic, at the keys, behind the vision, or behind the camera (shout out to perma-present cinematography force & more, Beee). There is just something intangible about the Clairmont aesthetic that only he can bring to a hip-hop scene starved of all-encompassing creative powerhouses like himself. And he’s tired of it – or at least tired of the lack of recognition.

With Hands – a single and a visual project as is so often the case from one of the most ubiquitous hip-hop visionaries aware of the range in his artistry – there is – as is always the case – an incredible nod to the balancing act of his craft. Clairmont’s penmanship, production, and ultimately, the way he conveys it all on screen receive equal weight, and tell a broader story of his creative breadth. Fiery bar after bar leaves no room for a hook through the three-minute barrage of lyrical angst. And yet, even through the flame of his words, deeply layered, funk-strewn, and dynamically harmonious production grabs a listener’s attention, too.

And as if that weren’t enough, the video also boasts a timeless feel. The fuzzy interpretation of classic film in low light, the slow withdraw of the camera from its subject, and the simplicity of a stage set for Clairmont to be doing something as simple as working on a model car while addressing his thoughts on the state of hip-hop as it pertains to his own superior brand, all draw a viewer into his crystalline poetry and the simultaneous subtle fumbling of his Hands.