Yello
Stella

The charm is inextricably linked to intelligence, and few offerings deserve to be associated with this union as much as that of the two noble characters from Zurich.

Why?

The "why" is the question one asks when encountering Yello, especially if one comes from the familiarity of straightforward pop. Why does this shady figure sing, or rather, recite apparently absurd litanies? Why does the other shady figure - from behind the keyboards - produce a sound so catchy as to justify their eccentricity?

Consider that in albums composed by Boris Blank, nothing is ever left to chance. The master of sampling and the powerful electronics of Stella is, by his own admission, a perfectionist. Therefore, the music perfectly matches their image; artist's mustaches and a serious, icy demeanor, even while intoning the au au of Oh Yeah. The vocalizations of Dieter Meier, who looks (and indeed is) like a billionaire playboy, are weighted down by the octaves: a trademark.

Inside Stella there is an aggressiveness that winks at new wave. The first album that sees Yello reborn as a duo, after the departure of Carlos Perón. Essentially, an album whose refined sounds do justice to electronics that can be elegant despite the final result (the track) presenting a pronounced ironic streak. It was precisely during this period that people like the Hancock of the eighties and Frankie Goes To Hollywood believed in this principle.

The perturbed contemplation towards nature, the dismantling of the omnipotence of dogma, and its parody.

It's impossible to stay still to the notes of Yello and Stella; immerse yourself in their - scientifically - perverse urban jungle.