DMA: Speaking of "Black Bomb" how did the cameo appearance from Trent Reznor come about?
WINK: Originally, it was a track that I was playing out on DAT in the middle of my set to throw a wrench into things like I like to do. People were always running up to me wondering what the track was seeing that it was slow but it had good dynamics in it. I figured that I wanted to take the song to the next level and that because it was kinda electro-ish hip hoppy, that I would get Kool Keith from the Ultramagnetic MC's on it. We all worked it out and I was going to fly out to San Francisco and do this and in the midst of getting all this information about when I was going to go out, nobody knew where he was. His management didn't know where he was, nobody knew where he was. I didn't have time to screw around so someone suggested a couple of other singers and Trent's name came up. So I sent it to him and our A+R person at Columbia Jason Jordan knew a friend of Trent's, so he got in touch with his friend and found out Trent was interested in doing it and I sent him the ADAT and he did it. I never went down there and he didn't come up here. His crew took care of things down there and we sent tape between each other and he did his thing and I did my thing from there.
DMA: What's up with your DJing schedule these days? Are you still sticking to your 'once a month' policy or are you traveling more liberally now that the hype surrounding you has quieted down some since the 'Higher States' days?
WINK: I am playing more. I can't say that I'm doing as much as I used to do, although I'm itching to do so. I'm fortunate to get a lot of really cool records and I also buy a lot of good records. I've been travelling not nessessarily for DJing but for business regarding the label and it gives me a chance to buy some really cool records a lot of times. The faxes and the requests for me DJing are still coming in at like fifteen a day, I'm going to be travelling more during the summer getting my face out there. It's been a healthy hiatus, I believe that's one of the keys to success is to not always be in the limelight. To have a balance in between being there and being away from it. When you need it, go and use it.
DMA: In the meantime, you've started a residency in Philly there called The Womb., correct?
WINK: Yes, it's at a club called Fluid and it's King and I's night and as the name suggests, it's based on Ovum Records. It's my only residency, it's a small club that only holds around 230 people. It's one of the most unique clubs I've ever seen and being that I've been able to travel around that's saying a lot. It's a very intimate, cool club and we get to educate people with different kinds of music. We play really deep stuff...all forms of deep music, from house, to techno, to drum and bass. It's basically, when we started, music that a baby would like to listen to or be influenced by listening to while being inside it's mother's womb. That's the basis of the night and we've been doing it since June of last year so it's almost a year. We've been fortunate in having a really good crowd that comes out and supports me and King. We've also had some really cool talent there. We've had Mr. C there, we've had Ralph and Huggy from Back To Basics in England come by, The Ballistic Brothers, all three of them, Rocky, Diesel and Ashley Beedle and they stayed here for three days and loved it. We've had [DJ] Sneak and Doc [Martin] and we've booked Carl [Cox] for July 1st. We feel pretty fortunate that these people love the club and that they realise that we can't really pay anything because the club's so small and we only charge $4.00 to get in. It's fun, it's good outlet to try new music -- most of mine and King's album was tested there and we feel pretty fortunate to be able to have something like that.
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