Wink - Higher State Of Consciousness (Version 3)

Last night, I heard Josh Wink. He blew my fucking mind.




He just released his new artist album titled "When A Banana Was Just A Banana". You can purchase the cd here.

This is from beatportal:


Philadelphia-based DJ and producer Josh Wink today announced details of his fourth studio album titled ‘When A Banana Was Just A Banana’.

“In a nutshell, it speaks really of the loss of innocence of music,” explained Wink, who seems to be on a personal mission to rid the electronic music world of its pigeonholes.

“Music was just music when I was growing up. Nobody was ridiculed or had views of ‘I only listen to this one kind of music’, I grew up listening to everything.

“Today, so many people tend to only listen to one style of music with a strong opinion of why. I miss the innocence of how it was, like when you were younger, ‘A Banana Was Just A Banana’.”

After the jump there is the full tracklist of his LP, plus track descriptions from Josh Wink himself.

1) ‘Airplane Electronique’

“This was first started in June 2007, after playing the Piknik Electronik party in Montreal. I kind of got an idea of the track with the style of music I was playing at the event. It’s a mixture of tech and house with a twisted feel.

“I started the groove then and got back to finishing the track in October 2007. The name came from flying back from the party, but the spelling of Electronique is more French (Montreal style) than the name of the party.”


2) ‘Counter Clock 319’

“This was originally called ‘319 Acid’, similar to ‘516 Acid’, but it was called ‘319’ as I started this on March 19th 2007.

“After playing around with ideas, and effects, I created a panning motion in the track which when listened to in headphones travels in a counter clockwise fashion.

I was listening to a set of (DJ) Dixon and noticed how slow and groovy most of the set was, which influenced me to make a twisted, intense track that was in the same tempo range.”


3) ‘What Used To Be Called Used To Be’

“This original track was based on a remix I did for my friend Someone Else (Sean O’Neal) in October 2006.

“This was the groove and acid line used, but Sean and I agreed that a different remix was needed, which I did and it was released on his label FoundSound in 2007.

“I asked him if I could change things around with my remix (as all the music except the vocal samples were from his track) and perhaps release it on Ovum Recordings [l] and he said “sure”.

“So, I’ve been playing it out since then with great reactions, and had to release it. Acid, baby!”


4) ‘Jus Right’

“The original groove was done in 2005. I found it again in February 2008, when I was cleaning files on my computer, and finished the track in the same month.

“It reminds me of some old French 80s disco house, which I’m a sucker for. We wanted to leak this out for the summer season in 2008, as it really has a summer/sexy groove-vibe to it.

“We weren’t sure what to do with it, as people don’t expect me to release things like this. But, Matt from Ovum said, ‘It’s you, and it’s deep and pumpy, we gotta put it out’.

“The track was originally 17 minutes long, which to me was ‘Just Right’ to tell my story.

“But, several edits were completed to make it shorter and we agreed that it still had the same feeling. This was played at the WMC this past year and someone YouTubed it and people are wondering who it is. So we decided to release it.”


5) ‘Dolphin Smack’

“It originally was intended for a B-side track on Pokerflat in September 2006. But we decided no, and we left it and came back to it in October of the same year to complete.

“It’s been changed many times as I constantly get ideas on ‘unfinished’ tracks by playing them out. I remember playing it at my Ovum Last Wednesday residency in Philly, and someone came up to me and asked, ‘What was that track with the dolphin in the break?’, and the name Dolphin came about.

“Then to me it sounded like a dolphin on heroin, hence ‘Dolphin Smack’. If I get the right crowd at a gig, this breakdown is magical, as it’s very out there. I’m excited to release it.”


6) ‘Minimum 23’

“This is influenced by 90’s NYC house, as was ‘Stay Out All Night’. It was started originally in October 2006, and was finished a year later on October 23rd, 2007.

“It’s another track of mine that wants to marry the various sounds of USA style house and my electronic-tweaky-ness of production.

“I’ve been playing it out, and it gets pretty insane response on the dancefloor, jackin’ house tech!

“The name has changed too, as most of my tracks start with dates of the month. Then titles come to me later, as they don’t really mean much to me. But, they’re fun to make up.”


7) ‘Hypnoslave’

“I started working on this when I was asked to do the ‘Screaming Hands’ remix for Radioslave in November 2006.

“But, it wasn’t going in the direction I wanted for the remix.

“I never used any of Radioslave’s parts for the remix, so I worked on it a bit more and put it away to work on another day.

“I was still in my making-house-versions-of-tech-production mood. The name of the track half came from Slave as I started it as the RadioSlave remix and the other half came from it being hypnotic as all hell!

“I remember being in San Diego in 2007 and Dubfire was there, and we found out that we were both playing in LA the next day, so he gave me a ride to LA in a rented truck and we listened to each other’s music on the drive.

“Still to this day, he asks me about getting this track! I will finally get it to him!”


8) ‘Everybody To The Sun’

“In December 2005 it was originally based around a vocal of someone saying ‘Everybody To The Sun’. I found it again, took the vocals out and completed it in January 2007.

“I began playing it out to great response, and I still get threats from Marco Carola and Paco Osuna (who heard me play it) that they will hurt me if I don’t give them a copy.

“My response ‘Ah, well, it’s not mastered yet’. Well, it’s mastered finally.

“The version before this one went a little crazy with analog madness during the break, but this version is a lot more subdued, and hypnotic. No bass-line here, but the bass of the drum every 4 measures gets the ladies’ hips going.”


9) ‘Stay Out All Night’

“I was listening to a lot of 90’s NYC and Chicago house (which I’m very influenced by) when I made this track, and decided to do a bunch of music that was more house-tech than tech house.

“I had a a lot of fun bringing in jazzy rhodes lines, jackin’ house beats and a deep ass bass to my sets.

“This really stood out when I played it the first few times at the end of 2007. I played it for Matty B (Ovum) and he thought it would be a great idea to leak it out at the 2008 WMC.

“We gave it to 15 people and the magic started there. It’s great how it was played by so many diverse DJs and continued to blur the line between the new styles of tech and the old sound of house.”