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Blah records have a history of matching the most exciting voices in U.K. rap, with bizarre beats. Microwave Cooking 2000, the new collaborative projects from these artists, is no different. CLBRKS' equally braggadocios and satirical bars match Morriarchi's comical, sample infused production perfectly.

Could another producer make a cohesive, 12 track album based on a kitchen utensil? Probably not. Microwaves aren't the only interesting subjects addressed on the LP either, CLBRKS fantasises about: burgling chemists, waisting money in the bookies and pouring fine cognacs on the pavement, for example. Mundy offers a few stellar bars about Keith Flint, Harry Arter and being a drunk British bastard - Lee Scott, Obijuan, CAPRIISUN and Bisk also provide intriguing verses on the album.

Collating such a record must have been a barrel of laughs for everyone involved. Its humorous nature pulls through the LP's entirety, but there are moments when CLBKRS appears more vulnerable, and Morriarchi accommodates that change in tone in his production.

A fly in the wall documentary to accompany the record would have gone down well. Seeing both artists blazed off their nut discussing microwave meal preferences and whatever else would make a great watch. Unfortunately, this doesn't exist - but you can read our interview with CLBRKS and Morriarchi below. We talked about everything from meal deals, to the importance of Blah records, so check it out.

First of all lads, really loving this album, so thanks for answering the Qs!

When did you first hear of each other and start collaborating?

C: I’d heard of a man named Morriarchi before, I think the name maybe just popped up in odd conversations about music etc. At the time when I met him he was working with Verbz for his Pathways album, and my feature on that is from when I first physically met Morri.

M:  I first heard of cl through verbz. We were finishing off the Pathways album (GroupBraCil) and Verbz said we HAD to get him on the album, Verbz is pretty particular and  isn’t often vocal about other rappers so I was intrigued. I checked out ‘Red Snapper’ via Loudhousediaries and was sold from that point. Could see he had a unique approach to music and an unmistakable voice.

Did you have an initial idea for the LP? Was this how it ended up or did the concept change as it went on?

C: There really wasn’t much of an initial concept, we’d be lying if we said that we got in a room and our initial goal was to create a microwave themed rap album. The concept really started getting built by Morriarchi in his own time, and how it came to down to an Australian microwave advert I’m still not quite sure. 

M: It was a pretty organic process without sounding too cliche. C came round to mine for a few sessions, we smoked, ate some good food, drank beers and made some rap music. Which at the time I wasn’t doing that much. Nearly all the tracks we made for the project, with a few exceptions that were slotted in once the meat of it was in place, were made in these sessions. Theme wise, Microwaves are essential homeware and I consider them the apex of the kitchen utensils.

One of the best aspects of the record, to me, is it’s choice of samples. ‘CEMENT’ and ‘MAN V DOLPHIN’ in particular. Where did you dig that interview and news report from? And what made you think it’d be good for the album?

C: I’ll leave this one for the boss to answer.

M: I’ve always been a fan of tying up projects and linking tracks together with skits I’ve found. I grew up on albums like 36 chambers, labcabincalfonia, the unseen, where skits were almost more integral to the song than the lyrics. Those particular skits I found after I had established the microwave theme and the tone was set as to what skits would fit certain songs as well as reflect c and my sense of humour. Which is one cup high brow comedy observations mixed with the lowest level toilet humour, that only your uncle knob ed comes out with. Shouts to Jay! Hero 🦸🏻‍♂️ 

It’s difficult, but I think our favourite tune is ‘CAMEL BLUE’. Can you tell us how that track came about?

C: That track was originally written to another beat by another producer. I don’t know why, but it was when I first started speaking with Lee Scott that I wrote that. Some odd, cliche rap film inspired child inside of me thought that if I were to write something decent, put it on a voice note and send it to him it might show him I’m nice. This is after I’d done the track for Verbz, and there wasn’t really a plan for me and Morri to build a project. I showed that to Morri, he started building something out of this obscure single by a Japanese Organist, and that became the first song we made for the record. 

M: that was actually our first track we cut together. I  started making a beat when we met and was just playing bits over some drums I made. C said ‘ o, I lark dat wan’ when I was toying around with sounds n then started rapping. I pretty much freestyled the patterns on the spot to him practicing the verse, recorded it as he did it n just wrapped it up that night.

So there’s a reason the lyrics mesh well with the beat as they were kinda shaped around his verse.

What do you reckon fans will get from this album that they haven’t from you before on your individual projects?

C: The album moves very smoothly with all the added production, I believe it’s my most cohesive project to date in terms of sound. It’s different to my other stuff in the sense that’s it’s very tongue in cheek, some of my other projects can become somber or aggressive whereas this felt quite fun to make.

M: Maybe a bit more humour? We both have a pretty jacked sense of humour, love for good weed, food and music. It’s a lot less aggro than my earlier stuff, but still has 1-2 in their that nods to that style people may be familiar with. There’s also straight up loops on there. It’s richer and fuller sound for sure. Just warmer lol. Clbrks, what do you look for in a beat? And Morriarchi what do you seek to find in the qualities of a rapper? C: If I can’t see a line appear in my head within 30 seconds there’s something not quite right.  M: The voice usually, you can be best lyricist in the world but if your voice isn’t catching someone’s attention it’s gunna be hard for them to remember what you said. So it’s important. Someone whose not too precious, willing to let me do my thing and piece stuff together in the chaotic manner I’m used to, and someone who brings a beer and some snacks to the session. What is the significance of Blah records, to you, in giving artist’s a platform to release physical, full length LPs? C: It’s very significant, this is my first project on vinyl, the first project with a proper budget, the first project that’s allowed me to travel, and it’s also caused me to meet some really interesting and clever people. I have a lot of respect for Blah. 

M: Well blah has been a home for a long time , we have history and I felt this project was a good way to introduce a new artist, build off the sound I’ve crafted at the label on certain releases and continue the new chapter of blah. This release just felt right here, same restaurant just a different dish. If morrstinkin was the wings combo and Heineken then this is the sushi and whiskey. To round things off, I’ve started working at Tesco after a brutal first year at uni for my bank account. Whilst stocking up the sandwiches, and sneaking in a headphone to hear your record, I wondered what your meal deal of choice would be? C: I’m quite fond of the new club sandwich, it feels rather exquisite in my grip. I’ll take that with a sparkling water and some pineapple slices cos I’m in a good mood today.  M: I live off £3 meal deals! Those who produce or live that music life know the score. I’d go for a BLT , bag of pops and an orange Fanta. Maybe cheese stick from bakery on top to nice my day up.



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