Sascha Dive's Restless Nights - Album!

 

Time and again, when everything appears to have come to a complete standstill, you will find yourself seriously wondering what the future of electronic club music is going to be like. What will come next?  And it was at that very moment when suddenly a new record appeared on the market to satisfy this longing for new, fresh sounds: Sascha Dive’s “The Basic Collective Pt. 1”.

In the meantime, almost 4 years and innumerable releases later, a new genre of house music has developed from and around the concept of this young, highly inspired Frankfurt-based artist. This sound is characterized by dark, driving rhythms with clear references to the U.S. American house music of the 1990s. The German Groove magazine called it “Rhein-Main-House”— a very accurate term to describe this movement. But Sascha Dive’s success story goes far beyond and overseas: He is the only “white producer” who was given the honour of getting a remix version made by no other than the grandmaster of house music: Moodymann himself.

Sascha Dive has been successful both as a producer, and as a DJ. When you talk with him about club music, and in particular house music, you almost get the impression of talking to a human encyclopaedia. His expert knowledge combined with his definition of contemporary club tunes makes his sets a unique experience. He takes the audience on a trip towards the future and the past, and at the end of the night gently back into the here and now again.

A couple of years ago, in spite of his busy schedule and the time he would spend in his studio, Sascha Dive decided to found his own label “Deep Vibes Recordings”, and to do his own research in the aesthetics of contemporary house sounds. He released tracks of co-fellows such as Johnny D, Christian Burkhardt, Ray Okpara and Robert Dietz, as well as of his own most-favourites such as Rick Wade, Scott Furgeson, Borthers Vibe, DJ Qu, Sean Dimitrie & Tim Fuller, and Norm Talley.

After more than a year of working in his studio, he now comes up with his debut album “Restless Nights” to be released on Deep Vibes Recordings. “Restless Nights” spans a bridge between clear and driving club tracks such as “Jus Groove” or “The Jam”, and calmer sounds, for example the opener “Tribute To The Night” or the cosy, almost playful track “Summer Madnesss” and “Hey Joe”.
“Restless Night” is the perfect album for almost any occasion: from dusk till dawn, for a nice open-air party, or a gorgeous after-hour event on Ibiza.
This album is going to be this summer’s club hit.

Loving - Johannes Heil album on Cocoon!

"To share and to increase the love, to let the soul speak through the music, is a feeling which can hardly be described with words. With "Loving", I want to embrace the whole world, because this journey to the origins of electronic dance music in between Modern Detroit, high tech Soul and House is coming from the very bottom of my heart." (Johannes Heil, 2010)

What time is love? With this question, Jimmy Cauty and Bill Drummond – better known as "The KLF" – have officially introduced the acid-orientated second Summer of Love 1988. However, the answers to this question might be numerous as the number of people living on the earth. Some think that it is the Summer of 1967, where the Hippie movement had its peak, others may hope for the perfect love in 2525 or maybe the time of love is now, in the year 2010.
Obviously, Johannes Heil belongs to the latter group. For more than fifteen years, he is an essential part of the German Techno scene and – with his classics from the likes of "Paranoid Dancer" (Kanzleramt, 1998) or "Calling" (1999) – belongs to the acoustic long-term memory of Techno. However, in the last few years with his releases for Klang Elektronik, Anthony Rother's Datapunk label and several own imprints like JH Records, Metatron or, most recently, Shit happens, Johannes remained one of the guarantors for musical enhancements. With his eighth studio album "Loving", Heil is taking stock of his 15 years of musical past, in a modern and at the same time traditional way. He uses influences from Detroit House only superficially, the history of modern dance music that he tells is that of music as the universal language between all continents.
So, one can find broken rhythms, combined with African chants ("Hallelujah") as well as a terrific pumping electro bass line and pizzicato strings ("The Ace"), hypnotically dancefloor-binding sub bass runners ("To The Groove") or Samba percussion tracks with marching band citations ("Glockenspiel") and weightless Detroit high tech House ("Freedom Of Heart") – all of them being equally part of the comprehensive vocabulary of... yes, love! After all, love as an emotional condition still feels the best in present tense.

An album that could not fit better to the clubs and open airs of this summer!