House music and Hip-Hop have rarely been attempted to traverse each other’s paths. With all the cross-pollination Hip-Hop has been through with genres such as Rock, EDM, and Jazz, it’s odd to see that House music hasn’t been successfully integrated into Hip-Hop’s grandiose spectrum. This project makes it seem like it wouldn’t be so difficult to do so.
Appearing from the emerging dreary-Rap scene the crew of Sub Luna City (King Krule, Rago Foot, Maxwell Owin, Jadasea) has been apart of in early 2014, MC Pinty became a noticeable associate of the collective and their efforts through local European DJ’ing shows.
On March of 2015, MC Pinty released his debut, and perhaps his only project, titled Midnight Moods. The project is a ten-track spectacle of emanating and soothing songs that all foster a similar approach to the sound and message. Midnight Moods is self-explanatory. But the project has a little hint of struggle with it as well. With dreary production by Rago Foot, Maxwell Owin, King Krule, and a few others, the silent Sub Luna City vibe can be found here. Although, this can be associated with more of a Downtempo genre with Pinty’s lyrical style adding a Hip-Hop flare to it.
MC Pinty laments his relaxed grief with witty wordplay and a nearly cheerful attitude, rapping about staying up nights and incessantly working on your craft. There’s a grieving progression that occurs once the sound becomes more woeful, but Pinty doesn’t lose his grip. The first track, This Just Life, is alright, has a simple beat to elevate Pinty’s benign attitude when it comes to expressing lines such as, “With my life now on the line now my life’s on the run.”
Each track here imprints his efforts poignantly, without resorting to lamentations. Vocally, he sounds affable with his attitude. He takes joy in having to work nonstop with a goal in mind. As each song ends and transitions into the next piece, the ambiance slowly starts to drone into sinister noises.
This haunting progression starts with the track, Honey. The track is slow, destitute, and undesirably striking. Between Pinty’s verses, Krule croons a poetic prose that doesn’t seem to fit in the piece narratively but goes along with the disorienting aesthetic.
The song All Nightly is a catchy groove session with Pinty’s blunt and forceful evocation peddling along with the beat. Along with Pinty’s truth, emcee Jadasea’s wordplay dismantles each beat tempo and advances Pinty’s blunt digression.
The last track of the project, Pint’s Lullaby//Fresher, is one of the more eerie tracks I’ve heard around that time. A minute-long interlude delves into a droning chord session that haunts the whole song. From everything that Pinty has said up to this point, it is no blunter than his prose expressed the ominous overtone serving as the project’s coda.
MC Pinty was also notable for temporarily running his own radio show, Sick Notes Radio, early into his music career. His show consisted of freestyles among him and his friends, as well as random tunes that fit right into the old school Hip-Hop appreciation it eludes. The young adolescent followed through his Hip-Hop roots with his predilection for House and Funk music. The young prodigy merged the two scenes together with the support of his radio show and music. Once this EP was released, it became clear where his roots began, and where his attitude is leading to.
As this project can be dreary at times, it is blissful to listen to. Throughout the EP, he’s mainly just stating the same theme of trying as best as you can. But what differs this project from the rest is what really muddles the line between Hip-Hip and Downtempo. For his first project, that is a feat. This is the soundtrack for the recluse. Wherever there’s a young man, staring at the glow of his laptop for hours on end, MC Pinty is there to let you know you’re not the only one.