A Yello album is a sounding journey into the dark. We know where the journey begins, but we have no idea where it will end. It has always been that way, and it is no different with the latest litter, called “Point”.

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

“Point” was created in exactly the same way as the thirteen albums before it and the evergreen hits “Oh Yeah”, “The Race” or “The Rhythm Divine”. “I compare our music with imagery,” says Blank. “I am a sound painter who works constantly in his studio.” He joyfully arranges the sound colors - he can now draw on hundreds of thousands of saved beats, snippets of melodies and instrumental solos - in ever new combinations on the canvas. “When there are sixty or seventy pictures, the question arises: what should you send to the exhibition? Which pieces would fit on an album?”

“When Boris is lost in his music, he is like a child in a pile of sand,” reports Meier with loving admiration. “I have developed a dozen tricks to help me enter the studio without scaring him to death.” When the time comes, Meier sits down with his Hermes “Baby” and starts clattering away. “The typewriter is an erotic object,” he says. “Typing is a way of feeling yourself.”

With their last album “Toy” Yello surfed on spherical sound waves. Now they have landed back on the ground. The joyfully swinging “Waba Duba” sets the playful tone and, in its Dadaistic pointedness, is just as reminiscent of the early days as the ghostly story of the missing “Peter Strong”. “Arthur Spark” achieves the typical Yello-like feat of combining nonsense words with dance beats and wanderlust-like melancholy. “Big Boy’s Blues” is mutant blues with Meier in a Leonard Cohen mood. “Hot Pan” conjures up the world of the old spaghetti westerns and subverts it at the same time, “Rush for Joe” serves up a magnificent trombone solo, and for dessert the Chinese singer Fifi Rong serves up a wonderful song about the limitless love with which... suffering of humanity can be defeated. Ideas hiss in all directions - and everything fits seamlessly into the unmistakable Yello groove.