Before grime, there was UK garage, a party-starting genre that treated its rappers more like hype men than storytellers. UK garage MCs were typically more concerned with getting the party started than documenting adversity, and Pinty, a south London artist and King Krule associate, grew up wanting to be just this kind of garage MC. His playful flow brings to mind the halcyon days of the late ’90s, when MC Neat and Craig David lit up the UK charts.
Pinty’s no straight-out copycat, though: while most garage MCs were hyped to the point of explosion, Midnight Moods was recorded at night, and you can hear the nocturnal ooze in Pinty’s voice, his laconic tone caught somewhere between going to bed and recording just one more vocal. The production shares this nonchalant, itchy feel. King Krule produced the tracks “It’s Just Life” and “Fresher” (plus the 56-second “Pint’s Lullaby” on the vinyl) under his DJ JD Sports guise, and he brings his lush musicality to bear: The shadowy, guitar-lined “It’s Just Life” recalls The Streets’ Mike Skinner if he grew up on jazz in bohemian South London. Meanwhile, the central trio of “E’s”, “Moonlit Duty” and “All Nightly” suggest a meandering strain of chill-out garage, their production not far off from a young Burial.
The mixtape’s most disquieting production is also its best. If the majority of Midnight Moods has the easy warmth of a packed bedroom studio, then “Go To Bed Pt. 2” brings the intoxicating delirium of a head cold, a warped synth line wrapping itself around nervous lo-fi house beats. Sadly, the mood dims when Pinty shows up, his one-paced flow suggesting a lack of confidence and finesse. Pinty’s vocals are genial enough when they fit to the beat, but a more versatile rapper would have switched up his style. But in the modest environment of Midnight Moods, this lack of personality is almost fitting. Garage MCs were rarely the stars of the show, and Pinty’s vocals contribute to the ambience of this charmingly understated mixtape, rather than dominate them.
