While his name may not be immediately recognized yet across the globe, ANGELZ has remained a staple addition to Tchami‘s branded Confession label. After touring with the esteemed French mega-producer for his nationwide Prophecy tour, ANGELZ has caught the ears of many with his trenchant G-house approach.
He continues steady success and growth with the delivery of a voracious three-track EP, Saint Thug II, — a “sequel” of sorts to his last one. Each individual track is emblazoned with a pleasingly anomalous bass-line that effectively captivate listeners into a hypnotic state of house.
Opening the EP with the first single “So Fly,” fans are quickly drawn into underlying percussive hits layered underneath endearing vocals from Kaleem Taylor, a recurring vocalist on Confession. Pushing a gritty bass-line amongst wailing sirens, “So Fly” exerts an underground feel right from the start.
Following up with his second hit “98 J.Lo,” rap verses immediately consume listeners as tenacious synth-lines take over the core production of this track. Incorporating brusque bass-hits that tie right into the typical G-house characteristics, “98 J.Lo” constructs the workings of a late-night warehouse anthem.
ANGELZ closes the EP by adding a unique addition to his EP with “Supafly.” Clearing the dance-floor with this stomper, muffled lyrics work their way into the track’s infectious melody line.
AC Slater has announced his new album, Outsider, to be released this September on his imprint, Night Bass. The Los Angeles producer has teamed up with Tchami for a heavy house trap-infused collaboration featuring Rome Fortune, released on OWSLA. “Dealer,” marks the first track released off the album, and has garnered massive support for its addictive yet ominous vibe and intriguing structure.
“Dealer” begins with Rome Fortune’s vocals contrasted by a teasing snare pattern which then builds into a bass laden climax. The combination of AC Slater and Tchami’s style produces a familiar and distinct sound of wobbly, growling bass progressions that makes grooving along irresistible. With his latest, AC Slater makes waiting for Outsider suspenseful yet exciting.
Tchami‘s “Adieu” marked a surprising yet pleasant departure from the future house pioneer’s signature sound as the track was recently deemed one of the most played-out tracks of the 2017 festival season thus far. While the tracks structure lives in the house space, rising producer Heroless has stepped up to the plate to flip “Adieu” into a future trap version of his own.
Swapping the four-on-the-floor pattern for a bouncing ensemble of trap percussion, the Norwegian young gun successfully leaves the blissful atmosphere Tchami originally instilled while splashing his own style on to give a new way to consume the track.
A master of consistency, Tchami has been very active in 2017, releasing two fantastic new “Confession” mixes and a single titled “Adieu,” which has since gone viral — not a first for the talented Frenchman. The pioneering producer has just released a brand new single, “World To Me,” which will likely be included on his upcoming second EP.
Interestingly, the Tchami has deserted his finely-honed, proven future house sounds in favor of the trending tropical house genre, receiving a lukewarm reception from fans in the process. While the track still features fabulously produced bass and percussion, ethereal organ-sample synths, and dreamy vocals by two-time Grammy nominee Luke James, it is still a style most fans don’t associate Tchami with and would definitely take some getting used to. As a stand alone single however, “World To Me” is perfectly solid and seems destined to gain significant traction as the weeks progress.
ROUNDTABLE: THE DA STAFF REFLECTS ON 10 ICONIC DJ SNAKE HITS
Though time comes and goes, DJ Snake’s birthday comes but once a year. To honor everyone’s favorite Frenchman, join the Dancing Astronaut staff in reflection on 10 of his most iconic tracks to date. From the ubiquitous to the regrettably underplayed, they’re all here.
Perhaps no other song is better suited for inclusion on this list. “Bird Machine” is not only a fond reminder of the days before DJ Snake set his sights on the charts and Alesia veered toward future bass with Point Point. It is the impetus for DJ Snake’s success (and quite possibly the birth of dance music’s twerk movement, in general). It’s always a stab in the gut to see Snake neglect this track in his sets today. But, in a way, its absence from the main-stage helps preserve its purity.
When DJ Snake’s album arrived in August of last year, I was stoked as hell. I mean really stoked. And while Encore impressed as a whole, the album’s innocuous closer became one of my favorite DJ Snake releases of all time.
“Here Comes The Night’ loops forgotten Kanye collaborator Mr. Hudson right back into his element. Best known for his collaborative and production work on 808s & Heartbreak Hudson’s efforts are uniquely well suited for the track which manages to hover along the razor’s edge between the dark and the danceable. This dark, synthpop inspired song plays out like the last magical dance in a Brat Pack prom movie, sparkling with the effervescent melancholy of a great night’s inevitable end.
Because he is a merciful god, DJ Snake released a killer remix EP for “Here Comes The Night.” Tucked alongside heavy hitting flips (Crankdat OWNS the release), was an almost unbelievable acoustic version that has to be heard to be believed.
This enormous track took the world by storm in March of 2015, since garnering more than 40 platinum certifications worldwide and literally more plays than humans on Earth. The collaboration with Major Lazer and MØ — which was passed on by the likes of Rihanna and Nicki Minaj — was at one point the most streamed track on Spotify and to date remains in their top 5. Many have even credited the track with a change in the RIAA certification process which now considers streaming metrics when bestowing records with “gold” and “platinum” honors.
At 100BPM and with a breezy vibe, “Lean On” helped usher in the tropical, dancehall feel that is currently dominating popular music, proof enough of its cultural impact.
DJ Snake and AlunaGeorge’s “You Know You Like It” hit the internet just after I had attended Spring Awakening–my first-ever electronic music festival. For me, this iconic remix takes me back to my early days of electronic music discovery: summer days spent combing the depths of Soundcloud for anything and everything that would further fuel my love for this scene I was discovering. Snake’s “You Know You Like It” remix was so innovative – smoothly mixing Aluna Francis’ sultry vocals into an ungodly catchy, dark beat. I still have to hit repeat when I hear it even to this day.”
I remember hearing “Middle” for the first time during a SoulCycle class. As the track came on, the energy in the room completely changed. The spin instructor started singing along and by the end of it, I was completely hooked.
“Middle” has an easy beat and catchy lyrics which add a euphoric vibe to an already vibrant bouncy melody that makes grooving along to DJ Snake’s uplifting arrangement irresistible. Although I’ve heard the anthem at countless shows and many festivals, every time I hear it, I am brought back to that dimly lit studio where I completely jammed out on the bike where, in that moment, DJ Snake’s sound made me feel limitless.
The phrase “Get low when the whistle go” activates primal instincts to hit the dancefloor with reckless abandon when uttered. It’s almost involuntary at this point. “Get Low” and its countless remixes and edits have the uncanny ability to turn nearly any setting into a hedonistic dance sauna: club floors, festival stages, school dances — it doesn’t matter.
Like the inescapable hit by Lil Jon and the Eastside Boys of the same name which is 11 years its senior, DJ Snake and Dillon Francis’ “Get Low” has solidified its place as one of current decade’s most defining party jams, as well as one of dance and pop’s biggest crossover moments to date.
“Turn Down For What” is the alpha and omega of trap crossover hits. It’s the unofficial anthem that characterized rambunctious spring break trips, kegger parties, and those weddings where the bride and groom like to be “hip.”
DJ Snake created this song in his bedroom with a Redman sample before pitching it to Lil Jon via email, and was surely unaware of the tsunami effect it would soon have on the world.
I, like most others, went through many stages of denial before accepting that this song simply owned my 2013… and then my 2014… and, finally, my 2015 before it started to die down. As such, “TDFW” maintains in a special place in my heart, and will never fade.
At the time of its release, crossover tracks between pop and dance weren’t exactly the thing just yet, so I was more than a little taken aback when I heard Justin Bieber was set to be featured on DJ Snake’s debut LP, Encore.
Lo and behold, “Let Me Love You” became an instant chart-topper, showcasing DJ Snake’s creative sensibility as a producer. Aside from resonating with millions of fans, the track helped blur the lines between various genres, which I think, made dance music culture slightly more accessible in the mainstream.
From lovelorn lyrics to booming synth pads, “Let Me Love You” rightfully earns its place as one of the DJ Snake’s best.
The beauty of DJ Snake’s sonic identity is that one minute he’ll release the summer’s biggest festival anthem, while the next, he’ll collaborate with pop’s biggest stars for the next Billboard chart topper.
In Encore, the Parisian producer decided to highlight this ability to pull from different ends of the dance spectrum. While its first single, “Middle,” went on to be a global hit, “Propaganda” was directed towards at DJ Snake’s original fans – the diehard devotees who spent 10 hours at the Ultra main stage wearing Mad Decent apparel.
At its core, the track is a haunting number dominated by a drop of metallic clamors, thunderous 808s, and bellowing synths. Arguably, “Propaganda” solidified Snake as one of trap’s most influential titans.
Then a breakout producer, Tchami delivered a striking deep house masterpiece in 2013 with “Promesses.” The track featured stunning vocals by Kaleem Taylor, as well as Tchami’s signature mysterious, future house style. The piece is a bruising addition to Tchami’s arsenal, showcasing transparent layers of sound and weighty bass progressions which create a clean arrangement that’s tied together by suspenseful builds, and enticing percussion.
Many don’t realize that the track was actually co-written and co-produced by fellow Pardon My French cohort–and the man of the hour–DJ Snake. Together, the two producers nailed “Promesses” with a raw energy and a kinetic vibes that beckon listeners to the dance floor.
Three months have passed since Tchami shared his most recent “Confessions” mix, which came in February, shortly after his latest single, “Adieu.” Now, days after the release of Chace’s broadly-reaching “Adieu” remix, the French future house influencer has published the sixth installment of his fervently followed mix series.
Tchami opens “Confessions #6” with Kevin Spacey’s chilling delivery of the foreboding line, “The greatest trick the devil ever pulled was convincing the world he didn’t exist.” Thereafter, the stage is set for Martin Bresso’s musical opener – Habstrakt and Dustycloud’s menacing, unreleased bass house collaboration, “Crows.” Throughout the hourlong set, Bresso vacillates between an array of bass house (including Habstrakt’s high-profile Skrillex joint, “Chicken Soup), future house, and club-germane tech house.
Some standout selections from “Confessions #6” include Cazztek’s formidable remix of “Devils” by ANGELZ and CamelPhat’s “Hangin’ Out With Charlie” – a current tech house favorite in clubs globally.
Teenage sensation Chace has widely been touted by fellow producers as something of a prodigy. Based out of Shanghai, the 18-year-old has already been signed onto Mad Decent and Yellow Claw’s Barong Family described the gifted producer as “one of those extraordinary musicians you encounter only once every few years.”
Having released two EPs at the tender age of 17, Chace tackles his most ambitious project to date, remixing future house legend, Tchami. Remixing the French juggernaut’s single “Adieu,” the wunderkind has tastefully re-worked the track, giving it his signature house treatment. From the outset the tone is set with a powerful kick drum and groovy percussive elements. Vocal samples further complement the track’s soothing tone, before it smoothly transitions into an equally slick bass drop, characterized by plucked guitar samples.
The club oriented remix is an impressive undertaking, especially as it inverts, rather than removes, the essence of Tchami’s gorgeous original.
Ultra‘s intercontinental dance conquest continues today following the announcement of a new offshoot in Mexico City later this year. The events giant has now dropped a lengthy phase two reveal for Ultra Singapore’s summer 2017 edition, further sweetening the deal with date announcements for Ultra Beach Bali later in the year. The Singaporean edition, held June 10 – 11, includes live headlining performances from Pendulum, Tchami, and KSHMR, with Tiesto, Steve Angello, Sasha and John Digweed all taking top billings as well.
Don Diablo, Steve Aoki, Martin Solveig and Hardwell will all make their way to Singapore for this year’s event as well. Supporting acts billed for 2017 further include Rich Chigga, GTA, ANNA and more. Pairing the Singapore edition’s second phase lineup with more exciting news, Ultra Beach Bali will officially return this year on September 14-15.
From the orient to the occident, those looking for a festival on the go won’t have to look too far to hit an Ultra Worldwide event at any point on the globe.
Carrying a genre can often lead to a sharp and sudden case of fatigue, but Parisian heavyweight Tchami just hasn’t gotten this memo yet. Lumbered several years ago with flag-bearing duties in the rise of the so-called “future house” sound, the Parisian’s footsteps have always felt intrinsically focussed on leading a creative and quality driven charge in spite of the genre’s rise to popularity.
On return to Tchami’s own Confession imprint, “Adieu” befittingly says goodbye to some of his more hallmarked musical attributes, channeling a dialed back and semi-progressive take on proceedings. It’s different, but the track keeps enough groove and stamina to have us convinced this one hasn’t been outsourced in the studio department. 2017 is going to be a year where a lot of artists jump ship on the sound they stapled their industry presence with, but for Confession’s latest, Tchami shows that there’s room to shake things up without shamelessly chasing pastures greener.
Techno is increasingly stepping out of the underground confines it was once relegated to, thanks to artists like BlackGummy, Rezz, and LA’s Andre Haglund. Better known as Drezo, the 26-year-old producer has a knack for pulsing, ominous techno, though releases from his catalog frequently experiment with evident hip-hop and house inspiration.
For his latest offering, Haglund sticks to his warehouse roots with a dark new remix. Crafting an aggressive flip on Tchami and Malaa‘s “Prophecy,” the producer brands the once buoyant house tune with his sinister techno seal. Marking his first release of 2017, Haglund is offering up his remix free of charge.
Modifying the original with slight shifts in tempo and melody, the “Guap” producer swaps Tchami and Malaa’s playful bounce for a pummeling bassline. Chopping and layering the original’s sample selection with a heavy dose of reverb, Drezo adds another ace remix to an already impressive arsenal of inventive reworks.