Last Wednesday I visited the Basement to watch Los Angeles Hip Hop producer/rapper Jonwayne and British electronic critical darlings Mount Kimbie. Jonwayne came to Columbus just as his album “Rap Album One” is being released on Stones Throw Records. Things I knew about Jonwayne: He came up in the L.A. Low End Theory instrumental hip hop beat scene that Flying Lotus and Gas Lamp Killer are associated with and that Philip Morris hit Jonwayne with a cease and desist for a cassette release that resembled a Marlboro Cigarette pack earlier this year. Jonwayne started the Columbus show with a towel wrapped around his head, and pounded out drums under vintage vocal samples. After getting heads nodding and plotting his course, Jonwayne stepped to the mic and started rapping with booming deep voice over Pusha T’s “Numbers on the Board.” Jonwayne sounds like a slowed down, more baritone Edan with a tad bit of Doom’s “Bukowski” aura while sometimes using Jay Electronica “while you were doing such and such” set-ups. During one of his raps, Wayne compared himself to Sam Beckett, and asked the crowd if ‘they knew the power of books.’ If Action Bronson was a Christian Rocker at Comic-Com, he would look like Jonwayne. Imagine Jesus mixed with Goliath complete with long hair, sandals and large human mass. His general presence and performance made the statement: “I’ve spent a good amount of time learning how to freak my equipment right, and making my raps sound powerful that I am comfortable puffing weed and listening to my music with or without you.” Jonwayne was opening for James Blake’s BFFs and English critical darlings Mount Kimbie so it is safe to say that he and I were the least attractive men in the room. Wayne ended the show getting the audience to chant “The king is not made by the crown/But the loyalty of the crowd.” Mount Kimbies’ crowd seemed to appreciate Jonwayne’s hutzpah and adeptness at using machines to make music. Mount Kimbie took the stage backed by a video screen that had various artistically presented images of cars, handwriting, general scenery and settings to play what is referred to as “post-dubstep.” While post-dubstep sounds like a necessary detoxification process, if you feel like you have been either roofied, or slipped GHB at a terrible party after being inundated by soulless, clubbing, aspiring date-rapists; applying the term to Mount Kimble describes an ambient, paced, layered and textured electronic sound. Mount Kimbie is a duo consisting of multi-instrumentalists Dominic Maker and Kai Campos, but for their live show they enlisted several musicians. The sound resembled their newest album “Cold Spring Fault Less Youth” on Warp Records. It is probably easier for Mount Kimbie to execute their music live compared to many other electronic acts because the band samples themselves playing instruments during the recording process. I am all for musicianship and talent as long as this does not turn EDM into boring post-rock a la Don Caballero. Synths, handclaps, basslines, guitars and horns had the audience dancing and feeling warm as Mount Kimbie performed songs such as “Home Recording,” “Field” and “So Many Times, So Many Ways.” Toward the end of the set, Mount Kimbie brought Jonwayne back out to rap during “You Took Your Time” in lieu of King Krule’s absence which provided a proper climax, and tied the show together. I guess hip electronic types will always have a soft spot for Hip Hop goons. Friday, I briefly hit up Carabar for Buggin’ Out’s Halloween Party. DJ D-Boogie was the guest deejay and had people dancing to Souls of Mischief, Method Man and other Hip Hop classics. I took a moment to take in the costumes. Ones of note included Carabar bartender Path who was dressed like Macklemore, Buggin’ Out’s host Zero Star who was adorned in a red terry cloth Kangol and a dookie chain in Run DMC style and Jason Thomas’ Jomo Walker outfit. Saturday, I caught perhaps the best band in Columbus, pysch-metal gods, Eye at Ace of Cups. The show was a celebration of Hoof Hearted Brewery “Cultrider” Black Rye IPA beer that was inspired by the 12 minute song “Cultrider” off Eye’s new album “Second Sight.” If you have caught Eye, yes Pink Floyd Meets Black Sabbath is an on-point description, but I would have to add that their back-line is nast-teeeee when it comes to the breakdown.