Doom and Gloom with Pinty’s ‘City Limits’

Chicago has rarely witnessed the sun in the past month. The gloom masquerades the city with its sedative enforcement, making the tedious commutes and walks all the more melancholy. People like Pinty understand the life of the lower-headed, brawling laborer, coming from a city where the sun rarely shines for a lifetime.

Pinty showed his understanding through narratives ebbing along smooth chimes and silky grooves on his first technical project, Midnight Moods, back in 2015. At the time of its release, Pinty was only nineteen years old. He was still parading the streets, having fun spray painting the Peckham walls and throwing live, bustling shows for the laborers to escape for the night.


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Now nearly four years after the release, Pinty is still up to his mischievous antics, but with more consciousness. He’s a little older, a tad bit busier with shows, and now signed to the formidable label, Rhythm Section International. Not much of his personal life is active on the internet. Besides his tastes, inspirations, and works, we get to know the perfect man that Pinty yearns to reach.

City Limits, just released last month under the Rhythm Section International label, demonstrates his evolution to reach his Overman. In the EP, he’s sticking to his inspirational roots of rapping poignantly over creamy and luscious D’n’B beats. City Limits is enriched with six tracks, two of which were actually from his Midnight Moods project.


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The EP introduces a lucid improvement of his inspiration. The King Krule-produced track Tropical Bleu introduces uses those English-smelt chimes over lowly-compressed drums and bass. Pinty here spews such translucid lines that utilize rhyming with such clever wordplay.

“Strife in the life, but they’re still buck wilding. Youngers not guiding, looking like some tyrants. Silent and violent, geez bro, it’s kind of frightening.” 

My personal favorite track is the coda of the project; City Limits. With production help by the ever-blissful Maxwell Owin, the track holds such an invigorating trance throughout its four-minute duration. On this track, Pinty bounces back and forth with his convoluted mind.

His wantings, his lifestyle, and his struggle all are translated into careful poetic transitions. There’s an attentive quality of those chords that spell House music’s most gorgeous quality, but at the same time allows Pinty to digress the tensest wordplay.


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It’s the perfect ending to the EP, as the track ends with sounds of police sirens dissipating away along with the last heavenly chord. As I write this, the city is still submitted under the cloudly trance. This is something that Pinty might understand, as well as the fighting denizens of Peckham and the western world.




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