Yello: Point La version sur Le vinyle LP en Norme édition. Cette édition particulière a été publiée en Allemagne dans la maison d'édition Polydor Le 4 septembre 2020.

Swiss electropop pioneers Yello's new fourteenth studio album is a sonic ride into the blue. We know where the journey begins, but we have no idea where it will end. That's always been the case, and it's no different with their latest throwback, "Point". Dieter Meier and Boris Blank - a writing duo that Hergé (Tintin) could have invented. One, Blank, dreams the tunes, which drives the other, Meier, crazy, forcing him to pound wild Dada stories into his typewriter. One of them, Blank, is at his best in the hermitage of his studio. The other, Meier, travels the world in seven league boots. The two have been making music together for forty years. There's no sign of age. "Point" was created in exactly the same way as thirteen previous albums and the evergreens "Oh Yeah", "The Race" and "The Rhythm Divine". "I liken our music to paintings," says Blank. "I'm a sound painter, always working in my studio." She enjoys working on details and arranging notes - now she can draw from hundreds of thousands of stored beats, melodic snippets and instrumental solos - in ever-new combinations on the canvas. "When there are about sixty or seventy paintings, the question arises: what to send to the exhibition? Which pieces would fit on an album?" "When Boris is immersed in music, he's like a child on a pile of sand," Meier says with affectionate admiration. "I've developed a dozen tricks to enter the studio without scaring the shit out of him." When the time comes, Meier sits down with his Hermes "Baby" and rattles away. "A typewriter is an erotic object," he says. "Writing is embodied in it." On their last album, "Toy," Yello surfed spherical sound waves. Now they've landed back on earth. The joyously swinging "Waba Duba" sets a playful tone and recalls early times with its Dadaist conceit, as does the haunting tale of the missing "Peter Strong." "Arthur Spark" achieves a typically Yello-esque achievement - combining nonsensical words with dance beats and melancholy. "Big Boy's Blues" is a mutated blues with Meier in a Leonard Cohen mood. "Hot Pan" evokes the world of old spaghetti westerns while subverting it, "Rush for Joe" offers a stunning trombone solo, and for dessert, Chinese singer Fifi Rong serves up a beautiful song about boundless love that could transcend the suffering of humanity. Ideas fizz in all directions - and everything fits seamlessly into Yello's unmistakable rhythm.

Album couvre tous les genres Pop, Musique électronique et Électro.