Although the most popular dance move was undeniably the “one hand in pocket head bob”, which for some turned into a “full body bob”, there were people who seemed to have completely lost control of their limbs as they flailed around. After a few instrumental songs, Jonwayne spoke for the first time, revealing a bit about his character: “For those of you who don’t know me, doesn’t matter”.Īs soon as Jonwayne started rapping, even the most rigid person in the room seemed to be grooving.
Simply put, the sounds went from percussive jungle beats, to orchestral old-school hip hop, to smooth lounge music that could almost be considered elevator music with a modern twist. One thing is for sure – it does not sound like rap as we know it. As with most great music, Jonwayne’s genre is hard to pinpoint. The sound at the venue was so clear that I could feel the bass vibration in my hair without the volume being too loud. When Jonwayne started playing, it was as though a setting on the speaker altered to unleash a whole new spectrum of bass. He very casually tapped Knxwledge on the shoulder to tell him his time was up, and then took over the sound console. Then, without warning, Jonwayne skulked out of the darkness of the aisles onto the stage carrying two sandwiches, one of which was already half eaten. Jonwayne was the second act of the night after Knxwledge, who sampled old-school jazz combined with funky electronic bass and crisp drum beats. Since then, he has released mixtapes showing that he is as much a rapper as he is an electronica DJ. The unconventional sandal-wearing Jonwayne gained notoriety as a beatmaker in 2011 with his debut album Bowser. I first heard him perform in a no-cover dingy club in Montreal called Le Belmont.
However, the main reason I hiked the steep, colourful stairs in Fortune Sound Club was to see Jonwayne. Despite not being part of the Hollywood celebrity culture, Wolf’s influence has helped rappers and producers, including J Dilla, Madlib and Jeff Jank, find the spotlight. The record label was in Vancouver to release its documentary Our Vinyl Weighs A Ton, which tells the story of Peanut Butter Wolf’s struggles in forming Stones Throw Records. Based out of Los Angeles, Stones Throw Records has a cult following around the world in the underground hip hop scene. The Stones Throw Records Tour pulled up to Fortune Sound Club on a wet Friday on Pender street featuring a list of underground hip hop producers: Peanut Butter Wolf, J. The remix emphasizes the electronic aspects of the original, giving it a more poignant and bold attitude while also paying respect to the delicate vocal phrases in a wide-open, breathing mix.įortune Sound Club, Vancouver, BC – February 28th, 2014
Mr tembo ukulele free#
Luckily, Louis the Child (a recent Chicago-based favourite of mine) offers a free copy of their brand new remix of Oh Wonder’s “Body Gold”.
My one quaff with this duo, however, is that their music is not available to download. In an age where subtlety is often lost in electronically produced music, this piece utilizes a combination of organic elements and edgy electronic tones that achieves a level of emotiveness comparable to that of an intimate live performance. But mystery was part of the fun when I first played “Shark” and felt the mellow instrumental wash over me this is extraordinary music. A “writing duo” set to release a new song for each month of the year, their Twitter, website and Facebook page also provide no more information than this. Oh Wonder’s Soundcloud page is endearingly blank.
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