Pascal Arbez better known by his stage name Vitalic (born in 1976) is an electronic music artist. He was born in France.
His first singles were released in 1996 and 1997, but were confined to the underground electronic music scene. However, he became good friends with Michel Amato, also known as The Hacker, whom he met in the Rex, the "techno temple" of Laurent Garnier. The Hacker suggested he should send his new tracks to DJ Hell, head of Gigolo records in Munich. Pascal did so, and International DeeJay Gigolo Records released the well known Poney EP in 2001, which was a huge success shortly after its release.
You prefer cocaine is on the more relaxed atmosphereic sounding electro tip, sounds alot like The Hacker - Fadin' Away (Dima Remix)
Will never part with this record till I die.
Add ‘You Prefer Cocaine’’s disco Bon Jovi hedonism and the scuzzy euphoria of ‘La Rock O1’ and you have, hands down, one of the most striking – and whistlable – singles in years.
whenever i listen to sylvester’s “(you make me feel) mighty real,” i think, “this is music to snort coke to.” or, more craftfully, “mighty real” played as bianca j. got off one white horse and onto another in studio 54. the production is oleaginous and there’s an amphetamine-kick in its acceleration, but the intensity of sylvester’s vocal, an almost gospel-like fervor, suggests bright lights and packed dancefloors.
listening to vitalic’s poney ep, and “poney part 1″ in particular, makes for a similar yet obverse experience. gone are the strobes and dancing girls, replaced instead by dark alleys and desperate men (and women). the production is not so far removed from sylvester: there’s a similar thickness, but the darker elements of the former are amplified and the kick drum seems uncannily persistent. synthesizers scream and vocals processed from a bad dream call out to the listener — if one chooses to accept it at face value, it’s music to mainline heroin to.
or maybe it’s the music that plays when miss kittin and her famous friends have sex every night in the back of her limousine, which is to say that, beneath the surface, it might just mean nothing at all. i can make one link between “mighty real” and “poney” with no vacillation whatsoever: no matter one’s drug of choice, and i’ve tried this at home, both still sound fantastic. and you can dance to them too.
While everyone from 2 Many DJs to Aphex Twin to Sven Väth was busy corking their sets with one (or two, or three...) tracks from Poney, Arbez was studiously lifting a few PR moves from his contemporaries, first by playing up his anonymity and later by concocting an elaborate backstory that involved a Ukrainian upbringing, animal fur trading, male prostitution, and the fall of the Berlin Wall. Despite being offered enough shows to keep him busy until the fall of the Wailing Wall, Arbez chose his live engagements carefully. He applied a similar selectivity to his output, issuing only a few 12"'s and a handful of choice remixes over the next few years.