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Josh Wink (born Joshua Winkelman in April 1970) is an electronic music DJ, label owner, producer, remixer, and artist. He is a native of Philadelphia, United States. A pioneering DJ in the American rave scene during the early 1990s, Wink was the most prominent exponent of the tribal forms of techno and house in the U.S. In 1995, he released several hits, including "Don't Laugh", and "I'm Ready" under the name Size 9 (which hit number one on the U.S. Hot Dance Club Play chart) and "Higher State of Consciousness," which topped the dance charts in Europe. He has had many recent club hits such as "How's Your Evening So Far?" (samples Lil Louis's 'French Kiss') and "Superfreak (Freak)" and has also gained a lot of attention for his remixes of FC Kahuna, Paul Oakenfold, Moby, Towa Tei, Ladytron and Depeche Mode, among others.

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).

Another word one could use to encapsulate Wink’s oeuvre is versatility. From the twisting, acidic breakbeat of the aforementioned “Higher States” to the organ-groove deepness of 2008’s “Stay Out All Night,” and from the pulsating ambience of 1996’s “Horizontal Dancing” to the streamline liquid techno of his recent remix of Agaric's “Who Made Up the Rules”—with side trips along the way for drum ’n’ bass beats and hip-hop rhythms (Wink was a regular at West Philly DJ battles as a kid)—his sound ranges as far and wide as anyone’s.

As with Wink’s own material, it’s timeless music—you could play a cut like David Alvarado’s swirling, percussion-drenched “Klugh” at a techno hoedown today, and it would sound as fresh as it did upon its late-’90s release; as with most of Ovum's catalog, it's music that's not defined by time or trends.