New music
On the May bank holiday weekend, a procession of guests queued outside Bermondsey’s beloved ORMSIDE Projects. There was little room to manoeuvre for those late to Jawnino’s mixtape release party. “It went off,” the Southwest Londoner says about one of the most sought-after underground gigs of the year. “I like the more intimate venues sometimes cos you feel more of a connection with people.”
The hooded phenomenon favours anonymity despite his increasing eminence as a nocturnal rap figure. It’s Jawnino’s way of toying with perspective, re-shaping his universe at a distance from reality. “I like to play with different ways of ‘masking’ the identity, digitally and physically,” he says, unafraid to deviate from mainstream prescribers of success. “I reckon it does shift people’s approach towards me, but I wouldn’t say in a negative manner.”
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2019 single ‘Ghost In A Shell’ marked Jawnino’s definitive introduction, establishing his deadpan, warped delivery. Joined by close friend and collaborator JP, the pair carved a fresh direction for grime, one that routes back to Jawnino’s first encounter with his peer, freestyling outside a McDonald’s in East Croydon. He recalls fond memories of Logan Sama’s weekly show on KISS FM, early filmed freestyles and radio sets. “I defo had a Of Mice and Men reference in there,” he laughs.
‘40’ marks Jawnino’s label debut, a collection of amalgamated tracks released via NYC’s True Panther Records. Piecing together the influence of trap, grime, and jungle, he distinguishes his palette with flecks of alternative, DIY stylings. Intrigued with off-beat samples and hybrids, Jawnino contrasts his insular creativity with far-flung digital discoveries. “Where I’m from in Roehampton, there wasn’t a lot going on musically except for OJB/37, so I felt connected through the internet but also disconnected simultaneously,” Jawnino explains.
Consequently, ‘40’ hosts an eclectic string of collaborators, from Ojerime, to MIKE and Jesse James Solomon, alongside remixes from Airhead, One Bok and evilgiane. Tracks like ‘Westfield’ capture the volatile urgency of UK drill, nodding to early Carns Hill drum patterns with a Dean Blunt-style twist. Contrasting string sections against blown-out basslines, drug-fuelled innuendos abound with fellow scribes Kibo and James Massiah: “For me, Kibo and James are some of the best writers in this country, so it made sense to have them on a ‘UK anthem.’”
‘40’ is a window into Jawnino’s twisted imagination. ‘It’s Cold Out’ flexes his distinctive flair, whereas ‘Dance2’ and ‘Scr33nTim3’ establish balance, with bright, buoyant energy. Just as we wrap up, Jawnino shares some rare insight behind his era-defining motif: “The title ‘40’ comes from the idea that every second the brain takes in a million impulses but only accepts 40, which forms your identity. Through this tape I was giving everyone an insight into mine.”
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As seen in CLASH Issue 128. Order your copy here.
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Words: Ana Lamond
Photo Credit: Che Richards
