You can’t start your review as abruptly as Vinicio Adames did with his album »Al Comienzo Del Camino« in 1985. Drum machine, a bass line comes in after two seconds and another few seconds later an eighties pop pearl of special brilliance unfolds. Filled to the brim with wild experiments that nevertheless emphasize catchiness, the Venezuelan’s debut, which has now been out of print for 35 years and has long been highly traded, is a real discovery. Quickly one must think of the best songs of Robert Wyatt, or those indie hits of Momus. This is not the way to get to the bottom of Adames. Rather, one would have to look into those funny, glued corners, where Felix Kubin, for example, stayed in his youth: In an echo bubble of what New Wave (in Germany called Neue Deutsche Welle) brought into the world. Unfettered as on the FFK beach, tracks like “No Hay Ni Dos” are so stirring precisely because they simulate the gestures of big pop productions, break them down to the smallest means and then make the best of it. If Vinicio Adames were not in his second life – until today – a very sought-after composer for film and television, one would be tempted to subsume him under »outsider pop«. Even the 73 seconds of the title track are as confused as they are amusing, balla-balla and yet a hit at the same time.