On CLBELLIC, a unique homage to New York gangster video games, NickyDiesel crafts astonishing beats that at times overshadow CLBRKS‘ narrative and humorous flow.
Release date: September 27, 2024 | Rhythm Section | Buy/Stream | Bandcamp
CLBRKS is a UK-based hip-hop artist who has been active in the scene for almost a decade. NickyDiesel is a Finnish producer. Connecting during school, the two artists have been slowly crafting music together, and the subject of today’s review is the resulting album, CLBELLIC. Inspired by New York gangster video games, and especially the character Niko Bellic from Grand Theft Auto IV, the album pairs CLBRKS‘ unique flows with NickyDiesel‘s masterfully syncopated, jazzy and lo-fi samples and beats.
I have to say that (1) I did not know about the concept of the album before my first few listens, and (2) I’ve never played the video games that this record is paying homage to. As such, I was confused and skeptical due to the caricature-like accents in the skits, the misogynistic terms, and the weird pairing of fairly violent lyrical imagery and aggressive vocal delivery with chill, relaxed beats. Even now, with my familiarity with the album’s concept, I assume that mileage will vary for listeners diving into this unique record.
That being said, there are a lot of successes here. CLBRKS has a really unique and rhythmic flow paired with an exceptionally distinctive timbre and tone. This become apparent from the first track, “Special To Me”, where the UK rapper dances between the polyrhythmic snare hits.
Even when the concept of the record is a bit inaccessible, NickyDiesel‘s productions shine. “Walking on Humboldt” is likely my favourite example here, where the producer builds a restrained beat around a sparkling harp, building interest with subdued rhythms and funky but understated bass lines. The record could easily have been based around fairly typical lo-fi beats, but NickyDiesel paints with muted colours that still make a masterpiece. Beats feel inspired by producers like L’Orange and his work as part of Marlowe or MFDoom, even incorporating fun samples that pair with CLBRKS‘ flows, like you might here alongside manipulated horns on “Brucie Kibbutz”. This minimalist yet creative production style makes space for CLBRKS‘ aggressive, rapid delivery, exemplified effectively on the record’s title track, where CLBRK‘s quick cadence juxtaposes sparse piano.
CLBELLIC is a unique record, and CLBRK definitely acknowledges such in his lyrics on the record’s nine songs and two interludes. The album moves quickly, rarely spending more than a couple minutes on a track before jumping to a new idea. An imitable tone and flow, a video game concept record, and masterful but understated beats make for a record you’re unlikely to compare to most contemporary hip hop. At the same time, with fairly atypical structures, minimal vocal or instrumental hooks, and a novel concept that still unfortunately draws on caricature (which may be a problem with the source material it’s referencing than anything else), there were several elements that took away from my broader enjoyment of the record. That said, I think this is still a fun, short project that you can bump for enjoyment and novelty
