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Interview with Josh Wink

by Dave "the Wave" Dresden


DMA: Being that you're very into being low-key, independent and creative, how does working with a huge company like Sony do you? Do you feel that doing this cramps your style or are you comfortable in your partnership with them?
WINK: There's a lot of things that we're learning and that's the whole thing for us and a lot of it's for them too. We bring a lot of things to the table that they're not accustomed to and then they bring stuff to the table that we're not accustomed to and we kind of have a pretty happy medium. The basic problem that we're running into is that the indie distributors are not taking the Columbia/Sony account.

DMA: So you want to get your records more into the mom and pop stores?
WINK: Well we're now doing that on our own. We've kind of set up our own distribution. We take the records from Columbia and distribute them to the distributors that we think need to have them. It's a lot of extra work for us, but in the long run, that's what we need to do to develop artists.

DMA: While you've been setting up these albums and trying to do all the other administrative things it takes to run a label, you've been also found the time to record your second album HearHere. Where did you find the time with all this other stuff going on?
WINK: I just made the time to do it. I was busy, but I wasn't really travelling that much. Basically, I was staying put here in Philly and working on the label and the artists. Being that I was around here more I had some time to sit down in the studio and think of some things and do some things and I created the time to do the album.

DMA: When you went into the studio initially to make these tracks, was it in the interests of making an album or was this something that came about and you found that you had a bunch of songs and WAH LA! you had an album?
WINK: That's a very interesting question, Dave. There are a lot of people out there now that are 'album oriented artists.' I and they are thinking of making an album rather than just basically dance 12"es. That's not nessessarily a bad thing because I could make a purely dance album and people could decide for themselves whether or not they wanted to listen to it at home. For this album, I tried to definitely balance between home listening and the dance floor. The first half of the album is very much more just 'sit around and chill' and that's basically what all the songs are, experimental stuff. The last half of the album is more techno house or dance oriented. It's different. I like it -- it's me growing and learning as an artist. Being able to work with vocalists and make songs and not just making records for the dance floor. That's too easy and a lot of people are doing that now.

DMA: Were you using you're DJ premonitions when setting up the track listing for the album? Like how it's segued and the intensity of it.
WINK: Yeah. I like being a producer and a DJ -- I like how it compliments each other. I really take my knowledge of a dancefloor and being a DJ manipulating the music as a DJ into the studio. I like the balance and I think it needs both. As a producer doing this album I would say yes to that question. I wanted to make sure the flow was good. A lot of my music is based on buildups and tension. A lot of the songs have this in 'em. Also songs against each other -- like going from "Black Bomb," an angst-driven tension-filled track and then going into the lush sounds of "Young Again," which a real aquatic jungle track after it. It's just two total opposites which I feel work really well together.

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