Review:
Dirtybird and Futureboogie signing Eats Everything lands on Method White alongside the great Tiga and Audion, for a collaborative one-tracker. "Dancing (Again!)" is a Saturday evening house bombshell with a poppy, above board edge, and its bouncy shells of bass jump to and fro between the "I wanna go dancing" vocals - instantly recognizable and surely a winner. There's also a radio edit for listening playback in there...bang!
Review:
Following on from Dogma, his collaboration with Kompakt's Michael Mayer back in 2016, Kolsch now invites Tiga to work with him for the second release on IPSO. It's a great meeting of minds; from the Turbo boss' side, there's an intuitive understanding of dance floor dynamics borne out by years spinning in clubs. It is articulated here by the percussive rhythm that underpins "Hal", while, from Kolsch's side come those frazzled vocal samples and the wide-eyed chord builds. Unite all of these elements and the track is just as powerful as the super computer of the same name from the seminal 2011: A Space Odyssey.
Review:
Following last year's collaboration with Kompakt boss Michael Mayer, Kolsch now teams up with another well-known artist. This co-authored release with Tiga starts off in relatively unfamiliar territory: the title track is a fuzzy, chord heavy workout that has an evocative edge thanks to its airy synths. "Still So High" sees the pair revert to type as a buzzing bass supports vocal samples and atmospheric sound scapes, but it's "First Blood" that really captures both artists' style most accurately. A pile-driving rhythm, raw drums and fuzzy, filtered percussive bursts support an 80s synth line that will ensure the latest IPSO collaboration is unforgettable.
Review:
"Planet E" was one of the highlights of Tiga's recent No Fantasy Required album, and now he hands it over to his trusted colleagues to remix it. Danny Daze retains the chemically refreshed vocal sample, but sets it to a pulsing electro bass and a wall of hazy, fizzling percussion. The overall result sounds like Alden Tyrell providing the support for Gary Numan. The Mele revamp is an entirely different affair. The UK DJ is enjoying a growing reputation thanks to releases on Lobster Boy and Formula and this remix will not harm his ascent; filtering the vocal to infinity and back, his rolling rhythm sits somewhere between bass and techno, but no matter what the genre name, it will cause mayhem whenever it's dropped.
Review:
Tiga's new single "Make Me Fall In Love" is the next single taken from his third album No Fantasy Required, released earlier this year on his Turbo imprint. The Martin Buttrich produced single features the vocal talents of Scissor Sisters' Jake Shears and is energetic and life affirming, takings its cues from mid 90s progressive house. You could almost have imagined this appearing on one of Sasha & Digweed's seminal Northern Exposure compilations back in the day. Soaring arpeggios, energetic rhythm and euphoric pads all mix together for perfect dancefloor mayhem. Look out for a remix by Spanish tech house hero Edu Imbernon coming very soon too.
Review:
Amazingly, No Fantasy Required is Tiga's first album for seven years, and sees him switch from long-time home Different to Ninja Tune offshoot Counter Records. Those who've followed his career to date will immediately feel at home, as he delivers a set of stylish, attractive songs that variously tip a wink to Gary Numan, Kraftwerk, Junior Boys, Chicago acid, Visionquest, Visage and, of course, his electroclash past. While the references are obvious, Tiga is smart enough to put his own spin on them, resulting in an album that expertly tiptoes the fine line between radio-friendly accessibility and his broad palette of underground club influences.
Review:
Tiga has a long been an advocate of vocal tracks; apart from Sunglasses At Night, one of his other main break through records was the androgynous vocals on the Chicago-influenced Pleasure from the Bass. On his latest release, the Turbo boss explores a similar approach; the title track features rolling snares and a gritty bass, but what sets it apart is the camp, coquettish vocal. Maintaining this theme is Butch, who delivers a wild '80s warehouse acid' remix, its drum rolls and spine-tingling 303 sounding like a mixture of Hardfloor and Lil' Louis. Jasper James' remix is the most contemporary-sounding, leaning more towards minimal techno than Chicago house.
Review:
Tiga has a long been an advocate of vocal tracks; apart from Sunglasses At Night, one of his other main break through records was the androgynous vocals on the Chicago-influenced Pleasure from the Bass. On his latest release, the Turbo boss explores a similar approach; the title track features rolling snares and a gritty bass, but what sets it apart is the camp, coquettish vocal. Maintaining this theme is Butch, who delivers a wild '80s warehouse acid' remix, its drum rolls and spine-tingling 303 sounding like a mixture of Hardfloor and Lil' Louis. Jasper James' remix is the most contemporary-sounding, leaning more towards minimal techno than Chicago house.
Review:
Tiga has a long been an advocate of vocal tracks; apart from Sunglasses At Night, one of his other main break through records was the androgynous vocals on the Chicago-influenced Pleasure from the Bass. On his latest release, the Turbo boss explores a similar approach; the title track features rolling snares and a gritty bass, but what sets it apart is the camp, coquettish vocal. Maintaining this theme is Butch, who delivers a wild '80s warehouse acid' remix, its drum rolls and spine-tingling 303 sounding like a mixture of Hardfloor and Lil' Louis. Jasper James' remix is the most contemporary-sounding, leaning more towards minimal techno than Chicago house.
Review:
Turbo boss Tiga returns after his fantastic 2016 long player No Fantasy Required to tell you what you've always needed to hear: on his new single "Eye Luv U." Co-produced by one half of Paranoid London, the new single harnesses all the pure energy of what enlightened club-goers often describe as their favourite emotion on this dusty, old school sounding acid house joint. There's some great remixes too: firstly by German house hero Butch whose version does exactly what it says on the tin with his "80's Warehouse Acid Mix" here he really works that silver Roland box like a you know what! Finally Scottish up and comer Jasper James gives us a tough peak time techno tool on his relentless version.
Review:
Tiga claims that his recent single "Woke" was about freedom, specifically escaping from the slavery of his mobile phone - and it's available here in all its rave-soaked brilliance. To reinforce the message about escaping, he has recruited impressive artists to remix it. Andrea Oliva delivers a blistering, acid-heavy take on the original, with Tiga's vocals pitched down and placed in the background, before being fired back into the foreground for maximum impact. By contrast, Jamie Jones drops a more reflective re-work; supported by crisp claps and drums, the UK producer lays down layer upon layer of woozy organ riffs that replicate the gentle waves that Tiga flung his phone into.
Review:
The second series of remixes of "Woke" sees Patrick Topping and Craig Williams tasked with the reshapes. In Topping's hands, Tiga's ode to saying goodbye to the rat race by dispensing of his smartphone in the sea takes on a malevolent edge. The rhythm is heavy and pounding, sounding inspired by ghetto techno, while discordant electronic riffs encase the Turbo boss' deadpan vocals. It's the heaviest interpretation of "Woke" so far, but also one of the most impressive. Craig Williams doesn't opt for the same level of intensity, but his take is also inspired by classic US dance music as warbling acid lines and tough kettle drums transport "Woke" to Chicago house's golden years.
Review:
Tiga teams up with Matthew Dear's Audion project for a third release. Supposedly inspired by life in 'rough times', this EP is a no-nonsense, gritty affair. "Stabbed in the Back" resounds to rough kicks, brittle percussion and the kind of nightmarish stabs that were common during hardcore's heyday. "Pink Bells" is not as visceral, but it resounds to a rolling, filtered groove, hypnotic, chiming bells that weave in and out of the arrangement and an occasional shrieking siren. "Non Stop" sees the pair drop the tempo (and intensity levels) to deliver a shaky, minimal house track, but even here their bleak vision of the world is audible in the detuned synth riff that echoes across its rickety drums.
Review:
Earlier in 2017, the third collaboration between famed North American producers Tiga and Audion came in the form of the Nightclub EP, which saw the duo take on the challenge of executing harder techno sounds - to reflect even harder times facing the world at present. To hammer that message home, they've drafted the big guns to make y'all listen and learn! The masked one Redshape steps up to the plate first and delivers a stomping Detroit rave rendition. Dutch electro fiend Dexter delivers a wonky analogue funk attack that has earned his and Steffi's Klakson imprint much respect over the years. We then go from central European party sounds to remixes with The White Isle more in mind: techno's dark lord Dubfire delivers a rolling, tunnelling and strobe-lit rendition. Next rising South American star ANNA delivers a hard hitting peak time rendition that has earned her releases on Tronik and Terminal M.
