Albums MIKE & Tony Seltzer - Pinball
- Thread starter IronFist
- Start date
JUSTIN HERBERT
Banned
bumps hard af
KingsOfKings
โ๏ธ GRANDMASTERS โ๏ธ
Yeah this is tough
KingsOfKings
โ๏ธ GRANDMASTERS โ๏ธ
After this project and 14k, I can say I really dig Tony Seltzers sound. Makes the Trap sound 10X more interesting imo.
KingsOfKings
โ๏ธ GRANDMASTERS โ๏ธ
Earlโs On God hook has no business being THIS fly 
9/10 album - an absolute fantastic album
yeah ever since i seen Tony Seltzer rhythm roulette episode where he basically does the sampling with the old VHS tapes, ive been paying attention to the placements he gets. Dude is fireThe beats on here
KingsOfKings
โ๏ธ GRANDMASTERS โ๏ธ
gotta do a review for this soon
Here is another rewrite, keeping the content within the quotation marks unchanged, with an even more extensive narrative:
Immediately upon releasing the first singles for Pinball, it was apparent Pinball would be a more upbeat project in terms of MIKE's other albums whose instrumentals often consist of chopped up samples and down tempos, often having a hand in production himself if not outright producing his own tracks. From the outset, this album signals a departure from MIKE's previous explorations into more meditative and moody soundscapes, embracing a new energy and pace that promises to captivate listeners with its vibrancy.
MIKE is consistently a very introspective lyricist whose flows and cadence have sometimes been criticized as monotonous, though this criticism has seemingly receded as MIKE has grown and developed his sound. His journey through the music industry has been one of self-discovery and artistic refinement, where each project reflects a deeper understanding of his craft and his place within the rap landscape. This evolution is not just in his lyrical content but also in how he navigates his beats, turning criticisms into catalysts for growth.
On Pinball, Tony Seltzer's instrumentals lay a perfect foundation for MIKE to flex his skills on more uptempo beats with a much grimier sound moving away from soulful samples, and flex MIKE does. The production here is a playground for MIKE's lyrical agility, allowing him to showcase a spectrum of emotions and experiences with tracks that pulse with life and urgency. This collaboration with Seltzer marks a significant chapter in MIKE's discography, introducing listeners to a side of him that's both raw and refined.
I will run through my favorite lyrics from each track to give a short rundown and thoughts on a very short project clocking in at just a little over 21 minutes long. Despite its brevity, "Pinball" packs an emotional and sonic punch, offering a concentrated burst of creativity and insight into MIKE's current psyche.
Two Door
"I get pull like a harmonica, you think I need a push?
Dreaded like Iโm Marley, plus I keep around some kush
Lilโ redhead think Iโm gnarly, but I need a Megan Good
Iโm in ends like Iโm Omari or redLee, Iโm never shook, yeah"
Two Door brings us in right away to some major themes over the next 21 minutes. MIKE makes it clear that he is getting more attention and money than ever in his career so far, and Pinball could be seen as a sort of victory lap. This track sets the tone for the album, not just as a musical experience but as a narrative journey through MIKE's ascent in the industry. The lyrics serve as both a warning and a declaration, layered over an intoxicating blend of synths and a compelling trap beat, highlighting his current status and confidence.
I like these lyrics because MIKE nods to his London roots shouting out a couple of UK artists he has collabed with before and also he holds it down for the sisters, which is real as fukk. It is easy and funny to assume underground artists in this lane might not draw large audiences of women if any. If you've been to the shows for a lot of these artists, you know that the assumption is more of a meme even if it sometimes reflects reality. This acknowledgment of his roots and the broader appeal of his music showcases MIKE's understanding of his audience and his place within the global hip-hop community.
Lethal Weapon
"So much right shyt feels so wrong, I can be regressive
All the wrong shyt feels so right, so I keep it simple
You be lying in your songs, I canโt be receptive
Uh, yeah
shyt be going on and on if you peep the message
You be high and you be gone, what she see is hectic
Yeah, this life is full of flaws, lot of imperfections"
MIKE continues that thread over some bright keys and a triumphant horn sample as he reflects on past flings, snitches, and providing the finer things in life to his affiliates. Here, the music contrasts with the lyrics, offering a sense of triumph amidst the reflections on life's complexities, creating a rich tapestry of emotion and experience.
I like these lyrics because I think it speaks to something anybody could relate to. When wrong shyt feels right and right shyt feels wrong, who's to say what the right choice is when you are in celebration mode? Especially if you are celebrating finally making it through struggle and find yourself out ahead of it. These lines encapsulate the moral and ethical quandaries one faces in moments of success and celebration, resonating with listeners on a deeply personal level.
100 Gecs
"Thumbinโ through another spread
Puffinโ strength, hundred reps
Come in two, nothinโ less
Come in two, 100 Gecs
Hundred blues, nothinโ kept
Nothinโ new, up and bless"
Immediately upon releasing the first singles for Pinball, it was apparent Pinball would be a more upbeat project in terms of MIKE's other albums whose instrumentals often consist of chopped up samples and down tempos, often having a hand in production himself if not outright producing his own tracks. From the outset, this album signals a departure from MIKE's previous explorations into more meditative and moody soundscapes, embracing a new energy and pace that promises to captivate listeners with its vibrancy.
MIKE is consistently a very introspective lyricist whose flows and cadence have sometimes been criticized as monotonous, though this criticism has seemingly receded as MIKE has grown and developed his sound. His journey through the music industry has been one of self-discovery and artistic refinement, where each project reflects a deeper understanding of his craft and his place within the rap landscape. This evolution is not just in his lyrical content but also in how he navigates his beats, turning criticisms into catalysts for growth.
On Pinball, Tony Seltzer's instrumentals lay a perfect foundation for MIKE to flex his skills on more uptempo beats with a much grimier sound moving away from soulful samples, and flex MIKE does. The production here is a playground for MIKE's lyrical agility, allowing him to showcase a spectrum of emotions and experiences with tracks that pulse with life and urgency. This collaboration with Seltzer marks a significant chapter in MIKE's discography, introducing listeners to a side of him that's both raw and refined.
I will run through my favorite lyrics from each track to give a short rundown and thoughts on a very short project clocking in at just a little over 21 minutes long. Despite its brevity, "Pinball" packs an emotional and sonic punch, offering a concentrated burst of creativity and insight into MIKE's current psyche.
Two Door
"I get pull like a harmonica, you think I need a push?
Dreaded like Iโm Marley, plus I keep around some kush
Lilโ redhead think Iโm gnarly, but I need a Megan Good
Iโm in ends like Iโm Omari or redLee, Iโm never shook, yeah"
Two Door brings us in right away to some major themes over the next 21 minutes. MIKE makes it clear that he is getting more attention and money than ever in his career so far, and Pinball could be seen as a sort of victory lap. This track sets the tone for the album, not just as a musical experience but as a narrative journey through MIKE's ascent in the industry. The lyrics serve as both a warning and a declaration, layered over an intoxicating blend of synths and a compelling trap beat, highlighting his current status and confidence.
I like these lyrics because MIKE nods to his London roots shouting out a couple of UK artists he has collabed with before and also he holds it down for the sisters, which is real as fukk. It is easy and funny to assume underground artists in this lane might not draw large audiences of women if any. If you've been to the shows for a lot of these artists, you know that the assumption is more of a meme even if it sometimes reflects reality. This acknowledgment of his roots and the broader appeal of his music showcases MIKE's understanding of his audience and his place within the global hip-hop community.
Lethal Weapon
"So much right shyt feels so wrong, I can be regressive
All the wrong shyt feels so right, so I keep it simple
You be lying in your songs, I canโt be receptive
Uh, yeah
shyt be going on and on if you peep the message
You be high and you be gone, what she see is hectic
Yeah, this life is full of flaws, lot of imperfections"
MIKE continues that thread over some bright keys and a triumphant horn sample as he reflects on past flings, snitches, and providing the finer things in life to his affiliates. Here, the music contrasts with the lyrics, offering a sense of triumph amidst the reflections on life's complexities, creating a rich tapestry of emotion and experience.
I like these lyrics because I think it speaks to something anybody could relate to. When wrong shyt feels right and right shyt feels wrong, who's to say what the right choice is when you are in celebration mode? Especially if you are celebrating finally making it through struggle and find yourself out ahead of it. These lines encapsulate the moral and ethical quandaries one faces in moments of success and celebration, resonating with listeners on a deeply personal level.
100 Gecs
"Thumbinโ through another spread
Puffinโ strength, hundred reps
Come in two, nothinโ less
Come in two, 100 Gecs
Hundred blues, nothinโ kept
Nothinโ new, up and bless"