1992 compiles the band’s long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the group’s attempts at steering their trademark fusion sound into uncharted nu jazz, trip-hop, and house territories. It’s 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 Saâda Bonaire folding new influences from the time into their eclectic sonic universe. Ebert’s soulful voice –the result of a church choir background and an early love of American soul and jazz music– offset Lange’s laid-back, more German-sounding vocals. Unfortunately, it seems this more empathic way of being was at odds with 1990s record label standards: the demo recordings were considered too bizarre and as a result were never published. As with all things Saâda Bonaire, the discovery of these new recordings feels like a sort of magical impossibility. It’s 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 Saâda Bonaire’s flair for creating pop music for past, present, and future outsiders.