Category Archives: Switched On

Switched On – Tiga – HOTLIFE (Secret City / Turbo Recordings)

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Reviewed by Ben Hogwood

What’s the story?

Montreal artist Tiga is back after a long absence – and in reality, the electronic music world have missed him. A distinctive and often humourous presence, he was a welcome part of the sometimes divisive Electroclash movement in the 2000s, his contribution being club-ready tracks that were often sultry and frequently showed off his wit and ability to craft a catchy hook.

HOTLIFE is only his fourth long player, for Tiga has been a prolific artist when it comes to releasing tracks – but he has gone big here, with a substantial record of 12 tracks lasting well over an hour.

Tiga’s absence from the music frontline can be partly attributed to illness, for he had a mystery neurological condition that he nicknamed ‘vibe fog’, and then found his creativity slowed – but not stopped – during lockdown. The roots of HOTLIFE trace back to then.

What’s the music like?

Given the album’s larger dimensions, it is to Tiga’s enormous credit that this is record not just sustaining interest the whole way through but reaching the sort of highs that made him such a good listen in the first place.

Right from the start it is evident that he is on form, with the cheeky Hot Wife, a collaboration with Boys Noize, ticking all the right boxes while sounding as though it was written yesterday.

As the album unfolds the biggest impression is made by the production sound, for there are some classy beats to unpack here, some fine riffing, and the sort of vocal couplets we were hoping for. “I got a new hobby, I put silk on my body”, he proclaims on Silk Scarf, channelling the spirit of Prince – with Fcukers vocalist Shanny Wise responding “Call me”, in sultry tones.

Lollipop and Cherry are brilliantly executed tracks with cheeky pop at their centre, while the more obvious dancefloor cuts – High Rollers and IAmWhatIAm – have all manner of thrills and spills when turned up loud.

The big surprise is a cover of the InXS hit Need You Tonight, repurposing the lyrics for the middle of a dancefloor. “Your moves are so raw!” takes on a whole different angle when repeated and given the deadpan treatment.

Does it all work?

It does. Tiga’s inspiration was clear for this album, and you really could dance the whole way through it – while singing at the same time.

Is it recommended?

Yes, with great enthusiasm. As underground electronic albums go, this is a great place to be in 2026. Fun and dancefloor satisfaction are guaranteed in equal measure.

For fans of… The Juan Maclean, Jamie Lidell, Cristian Vogel, Green Velvet

Listen / Buy

Published post no.2,871 – Tuesday 28 April 2026

New Music – Boards of Canada – Inferno (Warp Records)

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by Ben Hogwood

The rumours are true – after a protracted absence, celebrated electronic Scottish duo Boards of Canada are returning to the long player game with Inferno, to be released by Warp Records on 29 May 2026. Their first album since Tomorrow’s Harvest in 2013, Inferno has 18 tracks and lasts 70 minutes

The album announcement was prefaced by new music from the duo, Tape 05 appearing online last week – and set to take its place in the album as the fifth track, entitled Father and Son. If you haven’t heard it yet, you can listen here:

The album release is typically shrouded in mystery and creativity, though Tape 05 is an extremely promising teaser ahead of D-day.

Published post no.2,867 – Thursday 23 April 2026

Switched On – Hawksmoor: Am I Conscious Now? (Before I Die)

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Reviewed by Ben Hogwood

What’s the story?

James McKeown continues to move on apace with his Hawksmoor project – now numbering 13 releases in under a decade. His speed of thought is ironic, since the music he makes is not typically fast in any way, rooted in immersive ambience.

Though, as McKeown says, “While rooted in ambience, the work frequently shifts into more unsettling territory. Song structures and striking melodies appear more often than expected; ideas are sparked by psychogeography, environmental influences and hauntological drift.”

For Am I Conscious Now?, McKeown spent time shaping his music with the help of psychedelic compound 5-MeO-DMT, keen to explore how the substance might affect his music. The compound is supposed to clear the mind rather than overload it. Again, in McKeown’s words, “It overrides the body and forces surrender. It completely changed my life, outlook and perspective.”

What’s the music like?

Am I Conscious Now? responds to the experience with calm reflection. At first the worry is that the mind is cleared not just of thought but of emotion too, yet as the music settles down the ear responds well to McKeown’s subtle harmonic workings.

Initially the music is blocks of distorted but thoroughly ambient sound, but the mood softens with Golden Dolphins, a proper New Age-infused beauty. Vivid colours assert themselves through Flooding A Maze (In Slow Motion), with an extra zing added to the timbre of Infinite Tapestry.

Luke Insect’s textured artwork for the album serves as a template for the music inside, with McKeown navigating peaceful waters (Ti Kallisti, Into The White Sun) and fluctuating vistas (Astromeria) in the lead-up to the end.

Does it all work?

It does, largely – and certainly slows the mind while listening.

Is it recommended?

It is. James McKeown is remarkably consistent in his writing but also manages to avoid visiting the same place twice. A conscious yet comforting ambience is the result here.

For fans of… Flying Saucer Attack, Matthewdavid, Bvdub, My Bloody Valentine

Listen / Buy

Published post no.2,851 – Wednesday 8 April 2026

New Music – Stuart Bowditch: Constable Stereophonic Vol. 1 (Courier Sound)

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by Ben Hogwood, with text lifted from the press release

Another in the 24HR series featuring pure field recordings, Stuart presents some excerpts of recordings he has been making for Constable Ambisonic in 2025-26. The premise of this project is to make 20 one hour long ambisonic (360º) audio recordings of the locations of paintings by John Constable. Excerpts of the audio will be exhibited with the original paintings at Christchurch Mansions in Ipswich during ‘The Hay Wain: Walking Constable’s Landscape‘, to celebrate the 250th anniversary of his birth. 

20-minute excerpts can be found on the Stuart Bowditch Podcast, and on his Soundcloud page. Some full length recordings are available as a #slowwtv film on the project YouTube channel, where you can subscribe, follow or share.

Constable Ambisonic is supported using public funding by the National Lottery through an Arts Council Project Grant, with match funding from Colchester and Ipswich Museums, and support from National Trust, Flatford.

Stuart has been recording sound in urban and rural environments since 2005 with artist residencies in Canada, Austria, Portugal, Rochester, Felixstowe, Southend and Colchester. His work has been exhibited internationally in China, Iceland, Germany, Sweden, Denmark and nationally across Essex, Suffolk, London and further afield in the UK. The cassette is presented in a bespoke cover individually cut from recycled card stock by Nick Dawson (Eumig/Details), with text and artwork inserts, a Constable Ambisonic sticker and released in a limited edition of 20.

Published post no.2,850 – Tuesday 7 April 2026

New Music – Speedy J: Arp Δmp Chasm (STOOR)

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by Ben Hogwood, with text lifted from the press release

Contemplating the role of the album format in an attention-deficient society, Speedy J presents Walkman — a constantly shifting, 90-minute soundtrack to a journey of your choice. Jochem Paap‘s first solo album in over 20 years is a freewheeling, 20-track testament to his decades-deep studio skill and sonic versatility, running from skewed rhythmic rabbit holes to exploratory tonal abandon. You can listen to the first single, Arp Δmp Chasm, below:

For Paap, the traditional idea of the album had become obscured by listening habits and the non-stop information barrage of our digital lives. Having moved on from his breakthrough years releasing LPs and touring off the back of them, he was more inspired to develop his many-sided STOOR project and feed into a bigger artistic body of work than the temporary shelf-life of a single release. As is natural for any artist, his perspective shifted over time and he found himself drawn back to the idea of an album, realising he connected best with longer releases while he was on a walk, out for a run or generally in transit one way or another.

With an endearing call back to the humble Walkman, Paap (above) selected an hour and a half of material created during studio sessions at the beginning of 2025, perfectly sized to fit on two 45-minute sides of a cassette tape. As has long been the case for his studio practice, there were no fixed intentions when sitting down in the STOOR lab to start making noise — just a wealth of experience and an expansive set of tools to start exploring with. From hours of jams Paap pulled together standout moments and moulded them into a mixtape-like narrative ranging from two-minute beat nuggets to full-tilt techno workouts and immersive ambient drops. Every sound is intentional, but the overall delivery is instinctive and curious, showing multiple new dimensions to Paap’s sound and offering unpredictability at every turn.

‘Arp Δmp Chasm’ opens the album up in a thick blanket of humming, harmonic waves with an electric emotional charge, while ‘Ctrssalms17 (Cold Render)’ journeys through evocative blooms of melancholic, gritty pads and rugged, half-submerged tech funk. ‘Modern Birds (Origin Edit)’ reaches skywards with grand sweeps of dynamic, brilliantly rendered synthesis. From the dexterous drum science of ‘Drift Vector’ to ‘Osc Hop (Slow Collapse)’s lurching, beatless swamp of synths, on Walkman even the briefest snapshots leave an impression that lasts beyond the quick-scan cycle of the modern music experience.

With his return to the album format, Paap’s message is clear – put your headphones on, get outside and lose yourself in the sound of an artist constantly committed to moving forwards.

You can also listen / purchase on Bandcamp:

Published post no.2,844 – Wednesday 1 April 2026