Music

Josh Wink: Profound Sounds Volume 3

A DJ mix that's heavy on technology and studio time, but which eventually makes it to the dancefloor.


Josh Wink

Profound Sounds Volume 3

Label: Thrive
US Release Date: 2006-05-02
UK Release Date: 2006-05-15
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In the liner notes to Profound Sounds Volume 3, Josh Wink expounds at length on the difficulty of identifying tracks on DJ mixes now. With the traditional DJ setup of two turntables and a mixer, ID'ing tracks is easy -- the simple left-right sequence of records that the DJ plays. But the evolution of DJ skills and technology has complicated things. When a DJ mixes three records at once along with custom-made loops from a laptop, how does one name that moment in time -- and who's the artist? Richie Hawtin, the most cutting-edge techno DJ, has addressed these issues in various ways, from a bar graph depicting when records enter and exit their respective turntables, to DVD visuals showing when records fade in and out, to flat-out giving his layered mixes his own track names.

But DJ mixes are for dancing to music, not writing about architecture. Meta-discussion aside, Josh Wink has established himself as a force in electronic music. As a DJ, he has earned a worldwide reputation for smooth, kinetic sets that straddle the line between house and techno. As a producer, he has built up a similarly-minded discography including remixes for Moby, Depeche Mode, FC Kahuna, and many others, as well as solo production, of which his Left Above the Clouds album (as Winx) is his most famous. Wink also heads Ovum Records, which since 1994 has consistently delivered dancefloor-friendly house and techno 12"'s.

In his Profound Sounds series of mixes, Wink has reflected the evolution of DJ technology. Volume 1 was a straightforward mix of records, Volume 2 featured Wink editing tracks to suit his needs, and Volume 3 now finds him micro-editing tracks and layering them much like Hawtin did on his DE9 mixes. Thus, Wink now joins Hawtin, Sasha, and James Zabiela in releasing DJ mixes heavy on technology and studio time.

This desire to micro-manage each moment causes this mix to be technically flawless, but somewhat bloodless. Disc one of this set is called "Subconscious", while disc two is called "Conscious". That's DJ-speak for "mellow" and "not mellow". The first disc is indeed mellow, and takes quite a while to warm up. On this mix, Wink hews to the minimal techno sound currently in vogue, which features lean, clean synths over grooves that are funky at best and dainty at worst. Donnacha Costello's "Colorseries Blue B" is indicative; it features the world's quietest ride cymbal. In techno (and in pop music), the ride cymbal has traditionally heightened sonic intensity, but here the ride is pushed so low in the mix that it sounds meek.

However, there are nice tunes here. Anja Schneider and Sebo K's "Rancho Relaxo" has bouncy, chewy house chords, while D5's "Flotation Tank" swims through deep atmospherics. The mix gradually picks up, ending with some spectacular numbers. The most notable of these is Wink's remix of Radiohead's "Everything in Its Right Place". Retaining much of the vocals, this rework is both spine-chillingly melancholy and propulsively epic. Mathew Jonson then steals the show, remixing Wink's "Higher State of Consciousness" into a rich stew of electro, acid techno, and Middle Eastern melodies. Jonson's own "Love Letter to the Enemy" ends the disc on an eerie, hypnotic note.

Disc two wastes no time getting on the dancefloor. A few minutes in, the funky, Moroder-gone-minimal basslines of Loco Dice's "Jacuzzi Games" drop, yielding to the ridiculously bouncy chords of John Tejada's "Sucre". Tejada has long been one of dance music's best-kept secrets, and it's nice to see him get airtime. While the mix smoothly weaves through a succession of floor-fillers, things don't really get interesting until the menacing chimes of Jeff Mills' "Expanded". Wink's "Swirl" picks up the pace with tweaky acid techno, leading to Richie Inkle's decidedly old-school "Perspective". Amidst abstract, dark chords, the ride cymbal finally steps out loud and proud. In a mix characterized by constant restraint, the release is a relief. Glove in hand, Mateo Murphy's "Shadows" closes the set with warm basslines and a melodic Detroit techno feel. Never mind the hand-wringing about technology; in the end, Wink delivers what every DJ should -- good music.

6

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.


In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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