The French house maestros previously released a few tracks off the project — “The Sermon,” “Summer 99,” and “Kurupt“— along with a “No Redemption” tour remix pack. The new EP arrives one month before the pair head to San Francisco for a sold-out show at Bill Graham Civic Center, followed by another performance at Colorado’s legendary Red Rocks Amphitheater, and an EDC Las Vegas appearance on May 20th.
Through the audacious originality of Tchami’s Confession label, Tchami x Malaa have managed to amass an international congregation of house fanatics through their diversity and style, which utilizes mind-bending religious imagery over a unique blend of future house and bass music. Their sheer clout on the international stage has made their “No Redemption” project one of the top acts to see in 2018.
Living up to its promise to “expect the unexpected” in 2018, UMF capped off a lofty Miami Music Week with a number of attention-grabbing acts from dance music’s top tastemakers, including David Guetta, Kaskade, Eric Prydz, and Above & Beyond, along with an illustrious cast of newcomers in REZZ, Jauz, and Virtual Self. The most exalted act of the weekend came in the form of a highly anticipated reunion from Swedish House Mafia, who filled the surprise guest slot to close out the festival. Marshmello made his main stage debut and premiered his newest collaboration with Lil Uzi Vert, The Chainsmokers put the naysayers to bed with their high-energy performance, which included four unreleased tracks and a flaming drum solo, and Sir Carl Cox delivered a high-powered spectacle in his Resistance Megastructure.
Other notable moments came care of DJ Snake, who brought out Tchami, Malaa, and Mercer to debut their new collaboration, “Let’s Get Ill;” Axwell Λ Ingrosso, who opened their set with a captivating new track ID; Tiësto, who invited out his new fiancé, model Annika Backes, to the stage; and Steve Aoki, who assembled Daddy Yankee, Elvis Crespo, and Play-N-Skillz for a live performance of their recent release, “Azukita.”
For those who can’t count themselves lucky enough to have witnessed the live weekend spectacle, DA has compiled a comprehensive list of streams from UMF 2018 to relive the festival’s most magical moments.
For the past few months, house music’s favorite French dichotomy, Malaa and Tchami, have been touring the world, wreaking thunderous havoc from atop their elaborate, heaven-and-hell-themed stage-setup. On the production end, they have wrought musical mayhem in the form of roaring dance hits like “Summer 99” and “The Sermon.”
The duo’s latest Confession creation, “Kurupt,” is a malevolently bass-rich house anthem, aligning itself in both name and substance with Malaa’s villainous persona. Earlier in the month, the masked menace tried out the tune on his massive crowd at CRSSD Fest, and was met with wild praise.
However, the song is not without Tchami’s melodic, piano-like intonations – though they are rather subdued within the pummeling basslines of “Kurupt.”
Still to come from the production pair is their highly anticipated full-length No Redemption EP, of which a release date is still yet to be announced.
Although Tchami and Malaa’s 11-date, North American No Redemption tour concluded in December, the spirit of “house music all night long” lives on within the newly released No Redemption Tour remix pack.
A nine-track compilation that embodies the pulsating beats and deeper tones for which both Tchami and Malaa have cultivated a loyal following, the remix pack sees artists like Noizu, Alesia, Dillon Nathaniel, and more submit entrancing takes on No Redemption Tour hallmark tracks, including “Adieu,” “The Sermon,” “Bylina,” and Tchami’s signature throwback, “Afterlife.”
Tchami has followed up the recent release of MK‘s tech house take on his tropical-tinged, future house track “World To Me” with a full remix EP for the track. By giving the number a world of its own, Tchami displays just how deeply one’s own production proclivities can affect the outcome of a track. The new EP presents widely different versions of the number, each enjoyable in their own right. From the more lighthearted future bass take by Rootkit, to the sped up arcade style remix by Kidnun, it’s a world not to miss out on.
Tchami and the Detroit house and techno producer MK have been passing around remixes with each other lately. After Tchami’s recent rework of MK’s “17,” it’s now his American counterpart’s turn — and he’s launching his latest Tchami rework out of the park.
“World To Me” is originally a future house gem driven by a simplistic bassline and Luke James’ vocals. While the record is far removed from Tchami’s more recent collaborations with Malaa, or even his beloved tracks like “Adieu” and “Prophecy,” it maintains itself as a solid production. Still, it serves as a lively testament to his spirited outpouring.
MK’s recently taken on the track in his celebrated tech house style. In bringing down the vocals, and focusing more on the sonic atmosphere, a more groovy bassline is explored in the world in between.
Mark Kinchen, known better as MK, has released his remix of Rihanna and SZA’s “consideration.” With hundreds of releases under his belt, a career spanning three decades, and a hands on education in Detroit techno, Kinchen brings his expert production to the table, injecting his own Chicago house influenced synths and signature textures to the track.
At its core, the track is an amalgamation of contemporary hip hop and underground dance music. Synthesizing contemporary vocals from such legendary vocalists as Rihanna and SZA with prodding, deep house drums and atmospheric synths is no easy feat, yet Kinchen certainly seems up to the task. Kinchen showcase an impressive ability to draw out Rihanna’s latent dancehall influence; a testament to his quicksilver production M.O. Kinchen seems to turn everything he touches into dance-floor gold.
Habstrakt & Dombresky have released a new collaborative single, “Antigone.” The track, released on Mad Decent, sees two of France’s most innovative bass-house producers collaborate for the first time ever.
French producer and DJ Habstrakt has been chartering new territory by amalgamating bass music with traditional house influence, synthesizing his own blend of aggressive yet groovy melodies. With a massive collaboration with Skrillex on “Chicken Soup” under his belt and remixes for DJ Snake, Zeds Dead, and Zomboy, Habstrakt has built a proven track record in the EDM community. The producer is set to accompany Destructo next year on his Let’s Be Friends tour alongside Walker & Royce, Fisher, Will Clarke, Deux, Dillon Nathaniel, Gerry Gonza and Golf Clap.
In 2015, Dombresky was discovered by A-Trak, allowing him to produce an official remix of “We All Fall Down.” With new found recognition under his belt, Dombresky released both his first track “Wait” and his second “Utopia” on Tchami’s Confession label; the latter reaching over one million streams on Spotify.
The coalescence of two hard hitting players on “Antigone” results in a saturated dance floor ballad. Thick bass samples roll over hard hitting kicks and moody synth lines. The middle of the track alludes to UK rave, with ominous synths leading into the tracks second breakdown. The collaboration is sure to be played all across the festival circuit in 2018.
The most important day of every week: New Music Friday. As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed.
Parisian house producers Tchami aka “The Father” (of house music) and the villainously masked Malaa have released their second collaborative work this year, “The Sermon,” via Tchami’s own Confession label. The track precedes their North American, double-headlined No Redemption Tour that commences November 10.
The contrapositive pair have each been toiling away in the beat laboratory this year, with Tchami releasing his vibrant Revelations EP in August, and Malaa pumping out a slew of dark and nefarious tunes including “Contagious,” and “Hostyl,” a collab with fellow Frenchman, Dombresky.
“The Sermon” trails the saint and sinner’s bouncy, hip-hop infused “Summer ’99,” released in September, along with their tech-oriented future house hit “Prophecy,” from 2016. However, in “The Sermon,” more audible are Tchami’s jazzy nuances, especially in the bassline, with Malaa’s distinct influence in the pitched down vocal chops and warehouse texturing, most apparent in the interludes.