The ever intriguing, enigmatic CLBRKS takes a radical and cerebral turn on new album ‘The Library of Babel’, guided by Canadian beat maker DWEEB. Having gained acclaim for his unique delivery and absurdist, rip-roaring writing, it’s clear that Clbrks has the pick of producers - only ever working with top tier beat makers. Dweeb is certainly no exception, having made his name on Bandcamp with an eclectic mix of lo-fi and experimental projects.

Sculpted around concepts from Jorge Luis Borges 1941 short story, the pair synthesise to great effect, emerging with an unparalleled sound, reminiscent of a noir black and white film. Dweeb’s baroque, subdued palettes provide an impeccable canvas for CL to paint illustrious portraits; abnormal and introspective in equal measure. Despite clocking in at only 22 minutes, the pair offer 12 distinctive cuts. Each track illustrates individuality sonically and lyrically whilst remaining thematically cogent, with ideas of philosophy, death and delirium consistent throughout.

On the opener ‘Introduction’, there is the welcome inclusion of previous Clbrks collaborator, and friend, Conrad Mundy. Dweeb’s dusty samples parade around the opaque soundscape as Conrad and CL spray autobiographical meanderings of druggy past times like some sort of jaded memoir. ‘Thecatalogue’ follows, with cataclysmic horns and swinging drums the backdrop for CL to drop a signature verse full of thoughtful and tongue in cheek wordplay. ‘Onceimdead’ sees a gorgeous vocal sample serenade the lively percussion, while CL sits atop the beat with familiar ease, spouting surreal imagery.

A slight tonal shift musically comes with ‘Labyrinth’; stunning strings and adventurous bass oxymoronic compared to CL’s talk of absinthe and looking for hope where there is none. This is perhaps one of the most personal and solemn verses in the rappers entire catalogue. The listener continues to ponder existence throughout the welcomed ‘Intermission’, after which ‘Tenthoursandhours’ and ‘Footonneck’ offer old school sampling and an enigmatic mixture of sinister and reflective lyrical shadings.

The first single to be released off of the project ‘Forwhatitsworth’ is a pleasant, relieving offering, with the pitched vocal sample and celestial strings exuding an almost romantic timbre. ‘Gooddeal’ has slippery, watery production; ambiguous rhythmically with some ethereal keys and standardly hilarious bars about putting acid in your eyelids. ‘Finalchapter’ sees chopped up samples expertly mixed, showcasing Dweeb’s craft on one of the finest beats on the EP. Even on the ‘Epilogue’ and bonus track ‘Lobsteroutthetank’, the true meaning of the library narrative remains arcane, and we are hit with the question:

“You who read me, are you sure of understanding my language?”

The incredulous and perpetual quality of CL’s lyricism is only enhanced by Dweeb’s off kilter, creative production. One of the only rappers in the current UK scene that completely plays by his own book, Clbrks is everything that an artist should be. This is summed up perfectly by the bar in Footonneck:

“I’ve seen it all before it happened // I’m not tryna monetise, I’m just rapping”