Tiga
Sexor

THE REVIEW

It's well established and widely recognized that electronics are the "big thing" of the moment.
TechnoComposers, once anonymous studio rats forced to change their nickname with every new track in search of fortune, today transform into sought-after alchemist creators of perfect singles. The way dance music is consumed is also changing: from semi-clandestine raves to ever-expanding DJ sets even conquering space at festivals, attracting masses of faithful dancers.

Thus, it happens that DJs and remixers become ultra-popular figures, acclaimed on par with pop stars.
Such is the case with Tiga, a Canadian from Montreal, who built a solid reputation remixing both famous and less known figures, managing in just a few years to generate substantial hype around him. So much so that after nearly ten years of Singles and Compilations (with, in my opinion, mixed results), his first album was awaited by everyone with a certain interest.
But it's known there's a right time for everything, including a record, and it's also known that it's much easier to produce a single remix than to create an entire Album (yes, with a capital A...)
But try telling record labels that, even in these lean times—indeed, especially in these lean times—the itch to turn some profit by betting on the right horse is something they won't give up...
Disappointment? Heartburn? Or just a bitter taste in the mouth?

Let's go through this in order and take a look at the most significant tracks on the album...
"Louder than a Bomb", a single already released in 2004, is characterized by the immortal square wave at the bass and old-school rapping (feat. Public Enemy) interrupted by synthetic incursions. A track that doesn't leave the dance floor alive, in the sense that it is made and finished for the dance floor.
"You Gonna Want Me" is a real ElectroClash playlist gem, released a year later, it definitely ignited hopes with its modern and engaging sound, with Jake Shears (Scissor Sisters) on guest vocals.
May 2006, "Sexor" (the album, that's the name...) finally releases and all cards are laid out.
"Far from Home" sugary and accompanied by a stylish video clip manages to ensnare only the naïve.
"The Ballad of Sexor" unfairly draws too much from the almondy tricks of Soft Cell, whom the Canadian has always claimed to be inspired by.
"Good as Gold" has much more enjoyable dance openings. Rhythmically, it's certainly no different from "Far from Home", but at least composition-wise, the rediscovered Teutonic order (typical of overseas colleagues like Felix the Housecat and The Hacker) helps churn the song as it should.

In conclusion, Tiga's work is a pleasant listen but only a few tracks meet expectations; the dimensional leap from the club-culture planet to the galaxy of highway rest stop shelves is successful with reservations.

Try it as a coffee killer.