Zoolook is the seventh studio album by French electronic musician and composer Jean-Michel Jarre, released in November 1984 by Disques Dreyfus. Much of the music is built up from singing and speech in 25 different languages recorded and edited in the Fairlight CMI digital sampling synthesizer. The album spawned two singles: the title track and "Zoolookologie". Composition and recording 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. 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. This process was done together with Frederick Rousseau for three months. Some of the vocals were recorded during Jean-Michel's travels, others instead are the result of his work with the French ethnologist, Xavier Bellanger, who during his travels recorded "a large collection of tapes." For this album, Jarre used the synthesizers Moog 55, ARP 2600, some by EMS, the LinnDrum machine, the Yamaha DX7, the Matrisequencer 250 designed by the French sound engineer, Michel Geiss for Équinoxe (1978), and the E-mu Emulator. The different languages as listed in the album's liner notes are: Aboriginal, Afghan, Arabic, Balinese, Bangladeshi, Chinese, Dutch, English, Eskimo, French, German, Hungarian, Indian, Japanese, Malagasy, Malayan, Pygmy, Polish, Quechua, Russian, Sioux, Spanish, Swedish, Tibetan, and Turkish. Much of the album's recording took place both Jarre's makeshift studio in Paris. Sound engineer Denis Vanzetto joined the Jarre team, and later going to the Clinton studio, New York for recording American musicians chosen by Jean-Michel among them guitarists Adrian Belew and Ira Siegel, bassist Marcus Miller, and percussionist and drummer Yogi Horton. After Jean-Michel read in an American newspaper, The Village Voice about a exhibition held by the avant-garde singer Laurie Anderson in a New York gallery. He called and invited her to the studio to listen to his demos. Seduced by Jarre's proposed idea of speaking a completely imaginary language, she agreed and provided the vowels for the track "Diva". Parts of the album, like the track "Blah Blah Café" and the second half of the track "Diva", were reworkings of material that had already appeared on the 1983 album Musique pour Supermarché. The album was mixed