de-VICE #2


C-CHAN happy snaps!
inane contact details
PAPRIKA: the new anime from satoshi kon - review
one photo says it all: TOKYO DISNEYLAND
TEKKON KINKREET anime preview
album of the moment: V/A - HIFANA presents NAMPOOH CABLE
ZU-ZUSHI, part 2: IF? Records return to Melbourne
is this the coolest show on JAPANESE TV?
the best ADVERTISEMENT of all time
JEFF MILLS launches his "one man spaceship" in Tokyo
jonathan more raps about Dr Who: COLDCUT stylee
BEN SIMS labels for Andrez, September 2006
PowerShovel, Ltd.
SPANK ROCK rant a bit to our Tim
FAMKE JANSSEN raps about "x-men 3"
george w. bush: the real state of da union
PLAID: all about greedy baby & i-warp
movie review: STUDIO GHIBLI'S "gedo senki"
new IF? RECORDS sites
WORLD CUP round-up
IFFY links
TOKYO TECHNO parties 2006
muzak of da month #1: joy division rejigged...
movie review: "CARS"
new LITTLE NOBODY info links
BRAZIL music demo competition!
T.O.E. TV 1994
5000 FINGERS OF DR. T - "barbequeued crickets" video-clip
TIM DELUXE: ego killer
DORAEMON: is this the best japanese anime?
cocoa-chan blog
"get yer mitts on it" book selection #2
completely archaic video-clip of the month
silliest video of the year
the world cup
yoko umehara, art et al
gloria gaynor: that '70s diva
movie review: "poseidon"
little nobody / schlock tactile / andrez bergen
nightmares on wax
kid 606 'sometimes' video-clip
vegemite: anime stylee!
movie review: "dreamer"
the winners: the coolest, kitschest tv themes
jeff mills 'life cycle' (1994) video-clip
jammin' unit vs. vj sniper (video-clip)
movie review: luc besson's "angel-a"
classic japanese movie previews
si begg / the noodles foundation 'mad as hell' video-clip
evangelion vs. rammstein
kid koala 'fender bender' video-clip
dj shadow 'six days' video-clip by wong-kar wai
plaid 'eyen' video-clip
neil landstrumm / scandinavia
ken ishii - 'extra' anime video clip by koji morimoto
mamoru oshii - 2006
peanut butter wolf / stones throw
mr. scruff
william shatner fuels-up
si begg / noodles 2006
kid koala
video archive: front 242 'Headhunter'
movie review: mamoru oshii's "tachiguishi retsuden"
from the back of the fridge: cristian vogel (2000)
tony leung: 2046 / in the mood for love
movie review: "the producers"
ninja tune: zen tv II tour
kenji kawai
classic movie o' the month
"get yer mitts on it" book selection #1
movie review: osamu tezuka's "blackjack"
wine guzzler of the year award
fantastic plastic machine
coldcut: 'sound mirrors', ad infinitum
gene farris: 2006
captain funk / oe
the glimmers
deep dish vs. madonna
zen paradox / steve law
khan oral / captain comatose
luke vibert / wagon christ
from the back of the fridge: claude young (1998)
schlock tactile
calvin & hobbes
the winner: best american comic book cover of all time!
from the back of the fridge: melbourne - voiteck & honeysmack (1997)
from the back of the fridge: ken ishii (1999)
from the back of the fridge: aphex twin (1997)
cyberdada: archive playlists (pbs-fm)
muzak of da month (march): prefuse 73
muzak of da month (april): tachiguishi retsuden soundtrack
de-VICE #1


Interview with Vitalic whacked together by Andrez in November 2005 for puublication in the Yomiuri Shimbun (Japan), Beat (Melbourne), 3D World (Sydney), Onion (Adelaide) & Sauce (Tasmania)...

The good, the bad & the Vitalic

By Andrez Bergen

"I will never pretend I'm more special than any of them - that would sound very pretentious. I think all those musicians are special and good. And I'm also very bad at trying to convince people to come and see me."

So assesses a deferential (and astonishingly frank) Pascal Arbez down the line from his studio residence located somewhere in rural France. Those musicians he's talking about? Just Coldcut, Autechre, Carl Cox, Ken Ishii, Underworld and a wad of other luminaries who played alongside him at the recent huge Electraglide party in Tokyo.

Cast in their midst is Arbez, for his work under the moniker of Vitalic. While not yet quite in the same league as his above-mentioned peers, there's no doubt that his music has been increasingly referred to in the next - if not the same - breath as some, evidenced by his heightened profile as a globe-trotting live act.


Invited to Japan (as well as the Australia) to perform on the strength of his recent album 'OK Cowboy', Arbez wrested initial attention with the release of the 'Poney' EP in late 2001, through DJ Hell's superlative International DJ Gigolos imprint. That was the debut record for Vitalic, although Arbez had previously cut music as Dima.

Residing in France - "but in fact my parents are Italian immigrants", he interjects - inevitably sets up comparisons with fellow famous Frenchies Daft Punk. If his unfazed response is anything to go by, Arbez seems to have gotten used to the prevarication for provocation most journalists can't resist.

"We do have some common points," he allows. "We like disco, we make raw music. But maybe they are more crossover-kind of musicians than me. Also, they deejay and I don't. They live in Paris, and I live in the countryside." He pauses to consider, and then finishes with, "I'm less difficult than they are, and maybe my music sounds more French than theirs."

Indeed, although the past decade's better known purveyors of French electronica would be Daft Punk, Air and Laurent Garnier, there's been a more innovative underbelly represented by people like Mr. Oizo, DJ Cam in his better days, and Philippe Zdar and Etienne De Crecy from Motorbass - not to mention the closer associated, kindred-sounding Vitalic peers Michel Amato (a.k.a. The Hacker) and Olivier Raymond (Oxia).

Vitalic's own developing sound structure is a hybrid form of electro that has bled together elements as diverse as classical music, '70s pomp rock, '80s nu-beat, and a nod in the direction of Italian disco. In Vitalic's field of vision, it seems, Giorgio Moroder has played just as integral a role as the more recent epoch of electro clash.

Arbez is quick to assert that his own personality is as vital to his music as his ability with synthesizers and knob-twiddling. "My friends used to say that I am passionate, sometimes obsessive. I'm a music lover and a party freak," he muses. "The bad points? I have a changing mood and a tendency to melancholy or pessimism that exasperates my relatives sometimes."

Vitalic's latest album was produced over the course of the time since the project's debut with 'Poney' four years ago. "After 'Poney' I was mainly touring," he says. "I'm quite a slow worker, and also I do loads of sound designing and research, which is time demanding and not good for fast production. But I think it's good not to use the factory made ready-to-use sound banks [in musical equipment], and much better really to create your own sounds - in order to get your own color."

Some Internet descriptions of his color, however, haven't been all that flattering, though no doubt they were intended to be by the well-meaning souls who coined them. Labels like "the invincible metal disco warrior" and "the [Richard] Wagner of rave" stand out as the most inadvertently offensive.

Arbez, however, is having none of this. "By the 'Wagner of rave', I understand some kind of epic music, which is true in a way, and metal disco can also be a good metaphor - so I like both of them. There's also some humor in these comparisons, and I'm sensitive to that," he announces with an undoubtedly proud (French) inflection.


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