I discovered this record in 2011, after for thirty years not having listened to Jean-Michel Jarre at all. Around 1980 his albums “Oxygène’ (1976) and ‘Équinoxe’ (1978) were huge and the perfect soundtrack for a Cold War apocalyptic future-fear and early environmental crisis awareness (it’s not that new) and the twelve years old me lapped it up. Every planetarium presentation was backing tracked with his music. It was considered also quite uncool by many. When I had grown a bit older and had discovered real cool Fehlfarben, Soft Cell and New Order in 1984 JMR released ‘Zoolook’. It’s now a beautiful flashback to early hi-tech digital production with the much fabled Fairlight synth. The Fairlight is another huge story and I wet myself as a teenager when I spotted its name on the liner notes of albums. The excitement continued when my friends Neil and Chris @petshopboys told me some time in the 2000s about what it was like working with it in the mid80ies: loading each individual sound sample via a floppy disk. -- From Wikipedia's ‘Zoolook' entry: Zoolook was greatly influenced by his former mentor Pierre Schaeffer and his musique concrète, taking samples from everyday life and voice human in 25 different languages from all over the world.[4][5] In this album was expanded the sample-based approach which had been initiated on Les Chants Magnétiques (1981) and continued on Music for Supermarkets (1983). Some fragments were recorded digitally by Jarre and then played back and edited on the Fairlight CMI.[6] This process was done together with Frederick Rousseau for three months.[7] I've always been involved in ethnic music, though I thought the way a lot of people have been using ethnic music was a little superficial. Sometimes it works, like the Brian Eno stuff, it worked the first time, but for me what was more interesting was not making a particular statement about recording in Africa or in China, but taking some sounds and having exactly the same attitude as when you were in front of a Moog 55 or a modular system, replacing the oscillators with a bank of actors or people, treating them through the Fairlight or the EMS synth, and establishing an orchestra.'