The Mix 103: Tiga

While - like many social media trends - it may feel like a distant memory now, In January, It was difficult to avoid 2016 nostalgia. As Gen Z suddenly became enraptured with memories of King Kylie, neon face paint and people looking worse-for-wear during freshers week, Harpers Bazaar claimed that 2016 "was the last good year" – a time before TikTok, of "Live Laugh Love" decor and Millennial optimism. It was also when Tiga released his third album, 'No Fantasy Required', a record that rounded off an era of dancefloor destroyers, including 'Bugatti' and 'Lets Go Dancing'. And yet, dance music's go-to showman feels little has changed since then: "Touring is the same. Parties are the same."

Yet 'HOTLIFE', his fourth studio album and his first full-length release in over a decade, unmistakably seems to reflect this passage of time; while the producer's trademark tongue-in-cheek, racy club sound permeates across the record's 12 tracks, its also unmistakably current – brimming with the kind of compressed basslines, fiery loops and squeaky synths that are destined to send modern clubbers into a tailspin. Though, considering Tiga's decades-long career — which spans from Montreal scene trailblazer in the '90s, helping to lay the groundwork for the electroclash phenomenon in the early '00s, to becoming the remixer-in-chief for the Scissor Sisters, Justice, Moby and LCD Soundsystem — it's of little surprise that things feel less linear. 

Read this next: 10 most iconic Tiga moments

Released last week (April 17) via his imprint Turbo Recordings, which across the last 27 years has helped launch the careers of a solid percentage electronic music greats, 'HOTLIFE' sees Tiga simultaneously place a flag in the ground for his new era, while flexxing his credentials to prove he's still got it. And while the campaign run has seen him team up with NYC cool kids Fcukers on Lot Radio, touch down at Coachella, and take over the decks at London's mysterious club Lost, it all nearly didn't happen. Having suffered from an illness for around a "year and a half", Tiga - AKA Tiga James Sontag - at one point felt he would never be able to return to music. "My life was really fucked up," he reflects. "I couldn't do anything. So to go from that to being able to play at Coachella, it's like... holy shit. It's a rebirth."

Ahead of the release of 'HOTLIFE', Tiga gave us a sneak peek of "remixes to come" from the record for his go at The Mix, including reworks from Chris Lake, Fcukers, and Brunello. In the accompanying interview, he contemplates the various "jumps" undertaken throughout his decades-long career,  his refusal to repeat himself, and explains why the electroclash revival has finally allowed him to embrace the "legend" label. Listen to the mix and read the Q&A below.

So you’re currently gearing up for the release of ‘HOTLIFE’, your first solo album in a decade — can you tell us a bit about how you got started on this record? When did it first come together?

Basically, the simple version is, I was always making music. I was doing an album with Hudson Mohawke towards the beginning of COVID, then COVID came and just... whatever, we all know what happened. That was two years, then I got sick for a bit and.. anyway. The point is, there was a giant intermission, basically. As I started to come out of that, about a year and a half/two years ago, I started to make music in Montreal with some new friends that I had met. Then, I'd say about a year ago, I was making enough music that I started to think, first of all, that I had enough music to make a record, and more importantly I was kind of excited again about the whole process. That's what an album is; it's not just the tracks. For me, an album has never been a set musical concept; it's always been much more a “chapter in my life”. You start to get excited, you start to think of some visual ideas... but mainly you're like, yeah this chapter in my life, I want to wrap it up and put a bow on it. That's an album.

So, for you, it's more about documenting a time and a place?

It's a bit more like a journal or something. A period of your life. There are periods of your life, where you're still making music, sometimes it's just dance tracks. It's a feeling that, instead of coming every two years, it seems to come every eight years.

You've described this record as a “rebirth“, can you explain that in a little more detail?

I mean, bizarrely, I never thought I'd use that word. But just on a completely personal level, I think because of the length of my career... I got really sick, and for about two years, I couldn't really do anything. During that time, I kind of thought it was all over. And turns out, it wasn't all over. So the excitement and the relief, the joy I feel about that on a real-life level, combined with the fact I've started to make good music again, then add that all up with maybe just the point it happened in my life. So yes, it all really does feel like a rebirth. I don't like to talk about age; it's not really important, but it is real life. Things are different when you've been touring and DJing for 30 years, so obviously you're a different person. I think if artists are honest with themselves, everyone thinks, 'yeah, I'm gonna do this forever, and I thought that too. But there are also a lot of people, where you wonder, will it always be the dominant force? Is it always going to be central?

I've always looked at it like, you have to make these little evolutionary jumps. You know that movie Ice Age? There are glaciers, and they start to break apart, and if you somehow don't make that jump to the next one... And there's some obvious points, it's not so much about styles or fashion, it's about the rhythm of life. Let's say, for example, a lot of people in their late-20s, you've been doing well, but you're like, “Am I really going to do this all through my thirties?” That's a time you make a jump. And I just made a big jump, because now I'm going to do it until I'm 100. It's a relief to know it. It feels pretty chill.

Has it been strange to come back to promoting an album after 10 years? The music industry changes so much...

[shakes head]

You feel it hasn't really changed?

I mean, I haven't been in a cave. Touring is the same. Parties are the same. The requirements made on you as an artist have changed, with social media etc. But I've known that for the last five years. It's a nightmare, it's shit. For me, I definitely liked it the old-fashioned way. But I don't think it's changed that much. There are big changes, but it doesn't feel that different. I don't enjoy press as much as I used to.

Oh...

No, I mean I used to love press. It's a lot of ego; I loved the sound of my own voice. You know, you talk, talk, talk, and they listen. It was great. It was a never-ending high school. And now, not so much. It's not just press, there's a lot of things like that. I like to get on with it and focus on the studio and shows.

Do you think part of that is because you felt as if you'd had your ability to make music taken away from you, when you were sick, that now you don't want to waste time with all the other things around it as much?

Yeah. Do the thing. Exactly.

How do you feel 'HOTLIFE' fits into your journey as an artist?

I mean, there's no big master plan. I think it's just me having fun in the studio. It really is that simple. I'm picky in a way; things have to have a feeling, there's got to be a vibe. I want something to be captured, and once it is, I'm not super precious. This record is a collection of tracks that I've made in a period of time when I feel good. There's no big sonic signature, there's no big concept. If there is any unifying thing, it's that it feels good to make music, and I'm just going to enjoy it.

There’s been a lot of word around the electroclash revival since 2022. As one of the original flagbearers of the genre, how do you feel about its return? Do you feel there's been an expectation on you to resume that position?

Honestly, I'm 100% oblivious to the outside world. It's the truth.

Love that.

It's the truth. I mean, I wasn't always. For example, I was 26 when electroclash hit for the first time. Obviously, it kind of changed my life. A lot of my dreams came true. I definitely cared then; it was like a fairytale. But since then, I don't really pay attention either way. I certainly don't feel expectation. I think three things. Firstly, I am happy that a lot of those records are getting their due, because a lot of them are underrated. A lot of that stuff existed pre-internet, or pre-social media at least. Second, I feel a bit of wind in my sails. It's a little bit of a bonus; it makes your journey a little easier. Third, it's something I'm still very proud of. But, me, Miss Kittin, Vitalic, The Hacker, none of us ever paid attention to what people were saying. Even back then, we were like: “What is electroclash?” It's not really new to us to have to discuss this concept. I think everyone knows what it is, it's a certain set of values, it's a certain type of artist, it's a certain kind of attitude and sound. Also, it's pretty obvious why electroclash resurfaces; it's usually after a lot of boring stuff. It makes sense. But if I go to a party now and I hear someone like The Dare playing an old electro record, it's nice. I like it. It's also nice for me, because I get a lot of credit.

I'll say one thing that's interesting. About 10 years ago, when I did my last record, it was the first time I ever heard the word “legend” applied to me. And I really didn't like it, I thought it was premature. It didn't feel complimentary. But now, when it's used, especially in the context of the electroclash revival, I'm like 'cool', I like it.

I mean, if people are winning GRAMMYs are crediting you with having inspired their sound... "legend" feels pretty apt, right?

Yeah. Also, I've always been a little overconfident. I mean, I've always been a bit of an outsider, but even when I was a kid, I was like 'what's wrong with them?'. So, when you love a sound, in my mind, I'm like, 'well, this is obviously the best'. Then you get to a party, and you see you're in the little room and there's 20,000 people listening to shit tech-house, you're like “what's wrong with them?”. So, with electroclash hitting it big again... I don't feel any more sane, but I do feel a little more part of the world — finally, people see what I see. So that's relaxing.

Going back to your glacier analogy, do you think it's been helpful to make those jumps with this “legend” label?

I mean, you don't get a lifetime pass. Even sometimes the world might want you to come back, but for whatever reason, you can't, or you don't have inspiration. A lot of things have to line up to make that jump. When it does work, you're like: “phew”. Great. You get a little bit of time to enjoy it too. I will say one thing, though, which you can't forget: this is show business. There are weird, mysterious things at play in this industry. But the feeling when there's a little bit of hype, people like you, it's a very invincible feeling. But you also know when it's not there, and it's shit. Even if you don't care, it just makes everything harder. But this is what all artists deal with. This weird mystery of, you love something, and then one day, no one else likes you. You love something another day, and everyone likes you. You never really understand why.

Is it strange to feel like the rug could be pulled out from under you?

Kind of, but I think we all expect it, in a way. It obviously still comes down to the quality of ideas; not all songs are as good as others. Something like 'Shoes' is a really good record. I listen back, and I'm like: “That's a crazy good record”. Not all my records are that good. That's what I mean, as in it’s difficult for everyone. Another thing about making those jumps - now we've got a theme going - you don't make them by repeating. You can repeat and have a good career, but the new breath of fresh air has to come from something new. For myself, that's the thing I work the hardest on. I don't like to repeat myself in any way. It doesn't get me excited.

Can you see those patterns in your position as a label head? Turbo Recordings has helped launch so many careers in the last 27 years...

It's similar to when I used to work at a record store. The valuable thing for me in running a label is that it perpetually reminds you that the most important thing is just making a good track. There's no substitute. You can have all the money and status, you could be the most established artist in the world... you're still below, for me, the kid who makes one bomb record. I think that's really a DJ way of looking at it. If you make a record I love, you're my number one. You're the guy I want to talk to at the party. You're the one who has my attention. Because I know it's difficult to do, and it's cool. When you're exposed to a lot of young artists in running a label, that stays fresh in your mind. It's healthy, because otherwise you start to believe your own hype a little. That's what I like about DJ culture, all the kids out there just trying to make a great record, it's still hard to do, but every once in a while, one pops up, and it's like, wow.

‘HOTLIFE’ obviously has a pretty hefty list of collaborators: Boys Noize, Fcukers, Patrick Holland, Maraa, Paranoid London, etc...

It's not that many, really.

Well, I was just about to say... if you were going to list off artists you've worked with it would probably just be everyone, ever right?

Yeah, I mean. We did a list once at Turbo for fun. We listed everyone who'd ever been on the label, and it was shocking.

I bet

It was ridiculous.

Where had the thinking come from the enlist that varied cast for this record? Differing genres, some older heads, new talents, etc.

The unifying thing is we have to be friends. I have to like them. There also can't be too many old people... It's like a party, you know? You can't have a room full of old people. A couple is fine, but it's more fun that way. There's way less complaining, way more energy, and nobodies jaded. But, specifically [laughs] we'll call them the “young people”, but like Patrick, Maraa, Fcukers... they are just super fun to work with. It's exciting. You get ideas. It's not age; it's just more when people are new, and when things are exciting to them, it's contagious. Fcukers are incredible, the talent and ideas are there, but also they are touring the world, and they are happy about it! They aren't jaded. We did a Lot Radio thing together, it was fun. But if I had done that with one of my old cronies, we'd both be bitching and waiting to leave. Instead, it was fun. That's what making music with Fcukers was like, too.

Collaboration for me is probably the most important thing in everything I do; it's kind of my secret weapon. But also just in life, you're making friends, you're playing together. It's like you're a kid in school — you're a bit nervous, you're noticing that they laughed at that joke, and they liked this record, etc. We all know the feeling of making friends; it's nice. And then being creative with other people, nothing beats it. It keeps you from drinking your own Kool-Aid. No matter how cool you are - you could be Prince - you start to believe your own stuff, and the music can get a bit rigid.

How has the reception to 'HOTLIFE' been for you so far?

I am obviously happy about the attention I'm getting and people liking my music. I say that legend shit, but obviously, when you spend your life making music, this feels good. Again, with the electroclash thing, I'll say, specifically with people like Miss Kittin and The Hacker, Peaches, they are some of the best artists ever. It makes sense that they are getting attention. It's good.

Can you tell us about your mix? 

'HOTLIFE' has arrived, and here a little taste of the album remixes to come. We have Fcukers, Chris Lake, and Brunello on remix duty, and I’ve included the first listen of my new track with one of the world’s greatest, plus the latest bomb on Turbo, by the man Beltran.

Tiga's 'HOTLIFE' is out now via Turbo Recordings, buy it here

Tracklist: