As the At The Controls series continues to churn out fantastic minimal tech-house gems, one begins to wonder. Could AtC be for the new wave of tech-house what Global Underground is for only the best in progressive trance/house? The ever-impressive artists selected to compile for AtC would seem to suggest so. Agoria follows Claude Vonstroke’s AtC and genuinely impresses me with the quality of both discs. AtC 4 is quite different from the others in the series, however; one can classify the first three as shining examples of several of the top players in the minimal tech-house genre. Agoria’s release digresses from minimalism, and may even legitimately be referred to as tech-trance with a bit of low-key house thrown in alongside some far out inclusions on the second disc – you know. For good measure. What this interesting fusion of styles means for me is an exciting and fresh new approach for the AtC series, and aside from the series itself, Agoria manages to compile and mix an impressively seductive and enticing album that I simply know I wont stop listening to on a constant basis for months, at least.
One thing I like about Agoria’s style is the truly impeccable knack for picking good vocal techno. A good portion of the first disc, for instance, is sprinkled with predominately male vocals that (very much to my surprise) were neither annoying nor repetitive. I believe that the first mix would not have its indefinable charm were it not for those spacey vocals that can at once dominate a track and also support it from the background. Findley Brown’s vocals on `Losing The Will To Survive’ defy conventional electronic lyrics from nearly every angle but they, too, work brilliantly. The atmosphere is ripe for tech-trance. There is such a domination factor in the husky instrumentation that I sometimes feel as if I were listening to a Global Underground disc. For an AtC, disc one is surprisingly lush with sound – hence, the absence of the influence of minimalism, which can become tiring at times. Beginning only briefly with minimalism, the disc quickly gets down to business and offers such a wide array of musical venues to explore. But this is apparent when simply glancing over the track list: With inclusions like `The Melody (Balil Remix),’ `Very Wrong (Chaim Mix),’ `Searching,’ `From Dusk Till Dawn (TG Remix),’ `Acid Bells,’ `Smile & Receive (Apparat Remix)’… well, by now I’m sure my point’s been made. Put concisely, I love this album. There are some truly excellent remixes of fantastic tracks on here, adding to the aural weight that minimal electronic music usually lacks. Combining all types of instrumentation and thick, textured bass riffs emphasizes the clarity of the kick drum – thus, enhancing the disc’s compatibility with a club rather than merely home entertainment. Rich in content, free in spirit, logical in progression and sparse on filler, disc one is precisely the bullseye I have been waiting for in an AtC disc.
What’s more, disc two is just as lovely. `Your Arrival Is Our Arrival’ is the most satisfyingly spacey intro track I can recall since… well, ever. Yet Agoria wastes absolutely no time mixing staccato rhythms with calculatedly plucky bass and some wild stringy guitar-turned-melodic on `Bela Lugosi’s Dead’; very, very similar to Ewan Pearson’s Fabric 35, which I loved as well. The content of this disc is so insanely unpredictable, it’s addictive. The quality artists chosen for inclusion on this disc testify to its quality: TV Victor, Flying Lotus, Cubenx, Grand National, Telepopmusik, Guy Gerber, Chaim, Apparat… I can only imagine the staggering amount of effort put into this compilation. Thankfully, it pays off. Disc two explores the darker side of disc one, and the juxtaposition between the two earns this album its five star quality rating. Disc two is spacey, experimental and intriguing, one-upping Vonstroke’s second disc by leaps and bounds. Without knowing the tracks or the order in which they appear, Agoria’s flawless mixing techniques come quite close to undetectable. `Bora’ and `Flight Of The Albatross’ drop notably sick beats as smoky melodies reverberate in the background. I personally enjoy losing myself within these labyrinthine concoctions. There are twists and turns everywhere, beginning especially with `Massage Situation’ > `Wayfaring Stranger’ > `Repeat.’ Agoria combines the fundamentals of ambience, tech-trance, new age, accapella, hip-hop and a touch of breaks and, in doing so, convinces me that even paying the import price tag wouldn’t be much of a fallacy (as I’ll likely be spinning the life out of these discs).
As those eagerly seeking a piece of the pie have forced the floodgates of drab and minimalist EDM open, the great sea of modern electronica is being diluted with uninspired, expendable music. My proverbial life preservers are mix albums such as this one. Make no mistake; there are plenty of fantastic albums being released each month – more than enough to keep me happy for years to come. But when I stumble upon one such as Agoria’s At the Controls, I cannot help but feel a hint of jubilation. It fundamentally stands apart from the rest, and for once I can see an AtC album surviving the rapid test of time. If, in any capacity, you have enjoyed any of the first At the Controls releases, do not miss out on this one, as it is easily the best in the series.
Convincing madness, conveniently packaged and sold as two compact discs.
-James Woodruff
