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Until recently, it was thought that we had heard all there was to hear from Sa‚da Bonaire. The German studio projectís 1980s recordings had been compiled on the now cult-classic double LP Sa‚da Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph ďvonĒ Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the bandís long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the groupís attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories.

Itís no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Sa‚da Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebertís soulful voice Ėthe result of a church choir background and an early love of American soul and jazz musicĖ offset Stephanie Langeís laid-back, more German-sounding vocals. This unique interplay bolstered the bandís new direction - evident in their inspired takes on JamesBrownís ďWomanĒ and Syreeta Wright and Stevie Wonderís ďTo KnowYou Is To Love YouĒ. The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapperJimmy Lee Patterson, both of whom lent some stardust to the tracks at FranÁois Kevorkianís Axis Studios in NYC.

Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Sa‚da Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. Itís been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Sa‚da Bonaireís flair for creating pop music for past, present, and future outsiders.

Until recently, it was thought that we had heard all there was to hear from Sa‚da Bonaire. The German studio projectís 1980s recordings had been compiled on the now cult-classic double LP Sa‚da Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph ďvonĒ Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the bandís long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the groupís attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories.

Itís no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Sa‚da Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebertís soulful voice Ėthe result of a church choir background and an early love of American soul and jazz musicĖ offset Stephanie Langeís laid-back, more German-sounding vocals. This unique interplay bolstered the bandís new direction - evident in their inspired takes on JamesBrownís ďWomanĒ and Syreeta Wright and Stevie Wonderís ďTo KnowYou Is To Love YouĒ. The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapperJimmy Lee Patterson, both of whom lent some stardust to the tracks at FranÁois Kevorkianís Axis Studios in NYC.

Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Sa‚da Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. Itís been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Sa‚da Bonaireís flair for creating pop music for past, present, and future outsiders.

817949034610
1992 [2LP]
Artist: Saada Bonaire
Format: Vinyl
New: Available $34.98
Wish

Formats and Editions

DISC: 1

1. Woman
2. To Know You Is To Love You
3. Extremes
4. So Many Dreams
5. Running
6. Okay It's Over
7. That's Right
8. Lovelife
9. Your Prince
10. 7th House
11. Move From The Heart
12. Follow Your Mind

More Info:

Until recently, it was thought that we had heard all there was to hear from Sa‚da Bonaire. The German studio projectís 1980s recordings had been compiled on the now cult-classic double LP Sa‚da Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph ďvonĒ Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the bandís long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the groupís attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories.

Itís no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Sa‚da Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebertís soulful voice Ėthe result of a church choir background and an early love of American soul and jazz musicĖ offset Stephanie Langeís laid-back, more German-sounding vocals. This unique interplay bolstered the bandís new direction - evident in their inspired takes on JamesBrownís ďWomanĒ and Syreeta Wright and Stevie Wonderís ďTo KnowYou Is To Love YouĒ. The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapperJimmy Lee Patterson, both of whom lent some stardust to the tracks at FranÁois Kevorkianís Axis Studios in NYC.

Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Sa‚da Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. Itís been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Sa‚da Bonaireís flair for creating pop music for past, present, and future outsiders.

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