A Yello album is a sound journey into the blue. We know where the journey begins, but we have no idea where it will end. This has always been the case, and is no different with the latest release, called “Point”.

Dieter Meier and Boris Blank – a songwriter duo, as it could have been invented by Hergé (Tintin). One of them, Blank, is in a dream, the melodies come to him, which plunge the other, Meier, into a frenzy that makes him hammer wild Dada stories into the typewriter. For one, Blank, it is most comfortable in the hermitage of his studio. The other, Meier, is on the road all over the world in seven-league boots. The two have been making music together for forty years. No trace of wisdom of old age.

“Point” was created in exactly the same way as the thirteen previous albums and the evergreen hits “Oh Yeah”, “The Race” or “The Rhythm Divine”. “I compare our music with visual worlds,” says Blank. “I’m a sound painter who works in his studio all the time”. In joyful detail work he arranges the sound colors – in the meantime he can fall back on hundreds of thousands of stored beats, melody fragments and instrumental solos – in ever new combinations on the canvas. “When there are about sixty or seventy pictures, the question arises: what should one send to the exhibition? Which pieces would fit onto an album?”

“When Boris is immersed in his music, he is like a child in a heap of sand,” reports Meier with loving madness. “I have developed a dozen tricks how I can then enter the studio without scaring him to death. When the time comes, Meier sits down with his Hermes “Baby” and rattles away. “The typewriter is an erotic object,” he says. “Typing is a feeling of empathy.”

With their last album “Toy” Yello surfed on spherical sound waves. Now they are back on the ground landed. The joyfully swinging “Waba Duba” sets the playful tone and reminds in its dadaistic Poignancy as much to the early days as the ghostly story of the vanished “Peter Strong”. “Arthur Spark” creates the typical Yello-like trick, nonsense words with dance beats and wanderlust to unite melancholy. “Big Boy’s Blues” is mutant blues with Meier in Leonard Cohen mood. “Hot Pan” conjures up and subverts the world of old spaghetti westerns, “Rush for Joe” serves a trombone solo, and for dessert the Chinese singer Fifi Rong offers a wonderful song about the the boundless love with which the suffering of mankind can be defeated. In all directions the Ideas – and everything fits seamlessly into the unmistakable Yello groove.