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An album. To ‘Go Fast’, because that’s its title. With a composer who also goes very fast, often.
A composer who is also a DJ. A DJ who goes around the world to make it dance by mixing his three turntables, fast. Often.
The speed that scratches at the faces so harsh that it disfigures them also possesses a few virtues. Amongst which that of putting every creator in a state of ultimate trance to bring a project to the top. Often.
The most difficult being to do something well and fast. Going fast to attain one’s mission can become perilous. Go Fast is hence the title of Olivier Van Hoofstadt’s movie. The flick that should give the French thriller genre a brand new energy and a top speed almost capable of breaking the wall of sound.
The sound here is Agoria’s, the luminous prodigy of the French electronic scene is capable of teletransporting dozens of thousands of clubbers in a state of ultimate joy that gives them feet of wind.
This same DJ composed and produced the two albums that are necessary and indispensable for any proper immersion in the complex heart of electronic music. ‘Blossom’ in 2003 (with the classics La 11ème Marche, Spinach Girl) and ‘Green Armchair’ (including Code 1026, Europa and Les Violons Ivres) in 2006 have hardened the Lyon born musician who found himself glorified with the greatest awards: Best DJ with Laurent Garnier in 2004, Best Album for France Inter in 2006, most startling ambassador DJ for the Lyon Nuits Sonores, an award that he reaped once again this year at the term of a 7-hour battle with big brother Laurent Garnier.
All 15000 dancers who attended came out worn out and shattered by the intimate, abrasive dialogue between the two giants of the electronic planet who invented the language of turntables.
All this does tend to give a taste for speed. Agoria does remain a discreet person. Indeed, when we first met him on the occasion of the Nuits Sonores, he failed to tell us that he was working on a project for an original score for a film co-produced by Luc Besson.
This action movie focuses on these famous ‘Go Fasters’, the automobile pilots with a fury for ultra-powerful, armed convoys who transport over a ton of hashish at 200 km/hour or more on the European motorways, with an aim of outsmarting the police forces. It just so happens that producers Emmanuel Prévost and Stéphane Lecomte listened to Agoria’s album ‘The Green Armchair’ completely by chance. They were soon to fall head over heels in love with the album, and decided to synchronise two scenes of the film with tracks ‘Code 1026’ and ‘Europa’. Agoria asks to see the scenes. Soon, he enjoys it so much that he is asked to compose the entire score for the film. Apparently, imagining music over images is a job in itself.
Agoria soon realises this when someone tells him. But it does not deter him as he tools to compose another album, which could naturally become his third, simply inspired from the images and the scenario of ‘Go Fast’.
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