Thursday, August 07, 2003
Copyright © Las Vegas Mercury

CDVS

This one's a throwdown of electronic music's most famous Joshuas (eclectic collage impresario Josh Davis--a.k.a. DJ Shadow--notwithstanding). Both Josh Wink and Joshua Ryan hail from Pennsylvania (Wink from Philadelphia, Ryan from Pittsburgh). Both are DJs and producers who have earned respect from the dance music community. Both play different strains of progressive house, the keepin'-it-real electronic subgenre that combines the core elements of house, trance and techno with a more sparse, less bombastic vibe. And both have finally released long-awaited product this year on the same label, System Recordings: Wink's second installment of his Profound Sounds mix series, started in 1999, and Ryan's debut full-length, By Design.

Ryan is the more high-profile of the two, a pillar of artistic integrity partially due to the uncompromising nature of his Sony-affiliated, seminal mix album, Profound Sounds Volume 1. Its sequel sounds like an updated version of the first, with fresher tracks. The journey is a long, dark one, sparse and angular at times, but never restless. Wink is patient about things like climaxes, and requires you to be as well; he's more famous for his subtleties, and here, he remixes each track just enough to fit his musical narrative, before mixing them all together live. The resulting work is reminiscent of Wink's acid roots and current tech-house inclinations, with an occasional playful beat and a few ambient waves. Once he culminates with the peak-time "Compass," by Dave Clarke, you've earned the payoff, although techno fans will enjoy the whole ride, as the album has a bounty of intricate, head-music moments for bedroom listening.

Ryan, also esteemed for his nonpandering styles, is nonetheless the bigger crow-pleaser. By Design, a compilation of his various productions over the past four years, shows the evolution of Ryan's prog/trance style, right up to last year's favorite, "Buildings Inbetween." Each song has some melodic element that keeps you absorbed, which is a testament to Ryan's songwriting skills. The engaging "Yield" is reminiscent of pre-breaks-era BT. The centerpiece of the album, however, may just be "Pistolwhip," his massive 1999 hit that everyone from Sasha to Paul Oakenfold championed during trance's heyday. Its synth lines sound a little dated, but it adds to the peaceful, moving nature of the mix.

If Ryan has the substance, Wink easily takes the style. And what Wink wields by way of technique and craftsmanship, Ryan equals in tunefulness and atmospherics. The only similarities are in name--and accomplished consistency.--Mike Prevatt