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Since his acclaimed album release in 2009 with ‘When A Banana Was Just A Banana’,
Josh Wink has been heavily touring and working on building a new studio. Last year he
produced his greatest creation to date, a beautiful baby son. After taking some time out
to enjoy his newly found fatherhood, he finally got into his brand new studio towards the
end of 2012. The outcome was ‘Balls’ – a ten-minute drive of pulsing intensity bating
towards a huge breakdown, unlike any of Wink’s work to date…
“I am always surprised with what happens when I go into the studio after not being in
there for a while. I feel heavily inspired to make music by all the great things I hear and
from personal experiences that have occurred over the past year. I didn’t expect to make
a techno track. However, the grooves came quickly and naturally along with the hypnotic
analog pulses. Originally I came up with the foundation of my grooves using a beta
version of Ableton’s Live 9. And after I constructed the fundamentals of the track- I hit
record, tweaked and grooved the components live for 20 minutes, and then tightened up
and edited the best parts into a sequence. Then I played out, got some new ideas from
crowd interaction, and re-tweaked and made improvement.
When describing the track to Matt (Ovum label manager) I was saying that I think that
you really have to have balls to play this track, as it’s a little different from most of the
music out there right now. The track’s time couldn’t be edited down any further as the
story and journey wouldn’t be conveyed. So, the ten minutes is DJ friendly and I’m
happy that I can express my tale. The track, usual of my work, is based on aural textures
and tension. The breakdowns have changed through several attempts, and are now
adjusted to drive the crowds, whether in clubs or festivals.” – Josh Wink
When you’re as iconic a figure as Josh Wink, it’s not so easy to sum up a career in a few
words—but there are a couple of terms that might serve to get a handle on the seminal
electronic-music producer’s lifework. One of the most apt, certainly, would be longevity.
A brief scan of Wink’s mammoth résumé reveals the following: Early-’80 days as an
underage mobile DJ; a major role in fostering his native Philadelphia’s burgeoning
warehouse scene during the house-music explosion later that decade; name-making ’90s
club hits like “Don’t Laugh,” “Higher State of Consciousness” and “I’m Ready”; a label,
Ovum Recordings, that’s undisputedly one of the most essential dance-music imprints;
and his current position, after all these years, as one of the scene’s most vibrant and
creative DJs and producers (witness the critical success of his 2009 long-player When A
Banana Was Just A Banana).