Propaganda
Propaganda - Limited
-
Limited edition
- Numéroté à la main
Forty years since their inception, and almost two decades since their last release,
art-synth auteurs Propaganda return with a brand new chapter in their enthralling
story. This self-titled set from principal songwriting partnership Ralf Dörper and
Michael Mertens embodies the depth and drama of their early work, while exploring
fresh sounds and styles, and reflecting the personal and societal changes since their
last outing. Conceived and crafted entirely in their native Düsseldorf, a deliberate
decision to help them stay true to themselves, and featuring guest appearances from
the acclaimed Hauschka and ascendant Thunder Bae, this is Propaganda at their
most essential.
Though an embryonic incarnation was formed by Ralf Dörper, former synthesist with
electro-punks Die Krupps, and Andreas Thein in 1982, it wasn’t until the addition of
Düsseldorf Symphony Orchestra percussionist Michael Mertens that the outfit emerged as
the dark synth-pop powerhouse which would see chart success as part of the ZTT machine.
Upon signing with Trevor Horn’s irreverent imprint in 1983, Propaganda, now comprised of
vocalists Claudia Bruecken and Susanne Freytag alongside Dörper and Mertens, delivered
their classic debut LP A Secret Wish and a slew of international hit singles, “Dr Mabuse”,
“Duel” and “P Machinery”, leaving an indelible mark on the alternative scene and securing
an enduring place within the pantheon of synth-dance greats.
After a late 80s hiatus spent escaping their unfavourable contracts, during which the
singers went their separate ways, the project returned on Virgin in 1990, with a new line-up,
including Betsi Miller on vocals and former Simple Minds rhythm section Derek Forbes and
Brian McGee. Working alongside producers Ian Stanley and Chris Hughes, the ensemble
delivered the smoother sophomore offering 1234, featuring collaborations with the likes of
Howard Jones and David Gilmour. After which our protagonists pressed pause and pursued
separate goals, Dörper resurrecting Die Krupps and Mertens moving into TV and Film
composition and providing a conduit for Düsseldorf’s experimental electronic scene via his
Amontillado Music label.
The intervening decades passed with the persistent rumble of reunion from outside voices,
but it was a 2015 remix request from Zang Tumb Tuum chum and former Frankie Goes To
Hollywood frontman Holly Johnson which finally prompted the pair to reconvene behind the
console. The success of those sessions behind them, Dörper and Mertens began to
consider what the Propaganda of the present would be. A lot had changed since 1990 –
they had changed since 1990, and a new incarnation of the project would have to reflect
that. So they waved goodbye to the Pop-aganda of the past, left the clubs to the kids, and
pressed forward with complete creative freedom. The result is the immersive, emotive tour
de force Propaganda.
At once sleek, sensual and cerebral, album opener “They Call Me Nocebo” is the perfect
introduction to their sonic evolution. This taut and toxic love/lust song is imbued with the
nocturnal mood of vintage Propaganda but expresses itself within the context of the IDM
and electronic sounds reverberating through the 21st Century. “Purveyor Of Pleasure”
provides the perfect foil, as a rhythm section of infectious synth drums and swelling bass
recalls the dance floor preoccupations of the past, but sates itself with a supporting role
here, allowing the widescreen chord progressions and Thunder Bae’s expressive vocals to
take centre stage. Their lyrical lineage of subversive subject matter remains intact, but these
meditations on sex and sin contain seasoned self-reflection.
The operatic inflections and cinematic grandeur of “Vicious Circle” (emphatically reworked
from its 1234 origin), “Love:Craft” (with its lyrical homage to the American master of cosmic
horror) and neo-classical instrumental “Dystopian Waltz”, attest to Propaganda’s perennial
penchant for the dramatic, now enriched through Mertens’ subsequent soundtrack work into
searing, swooning heights. Elsewhere, “Tipping Point” offers an ecological poem set to the
trancelike chug of swirling arpeggiators, and “Distant” dissects loneliness and isolation,
particularly poignant after the shared experience of lockdown.
The beautifully gothic “Wenn Ich Mir Was Wuenschen Duerfte” closes both the album and a
loop, its English translation “If I Had A Wish” harking back to the title of their debut album,
while the song itself continues the exploration of new sonic territories. A German standard
from the thirties, written by Friedrich Hollaender and popularised by Marlene Dietrich’s 1960
recording, the song presents sadness as political strength, and remains as pertinent and
powerful now as it ever has. This rich and textured rendition, featuring haunting prepared
piano from Hauschka, a long-time musical acquaintance of Mertens’ and now Academy
Award winner, is a fitting finale to this powerful album.
And make no mistake, this is an album. In an era of impermanence, Propaganda wanted to
produce something real - to be played from start to finish, with artwork and packaging which
allows a deeper understanding of the theme of the release. Finding the perfect label to
match their ambitions in Bureau B, Propaganda have delivered a third album well worth the
wait.
art-synth auteurs Propaganda return with a brand new chapter in their enthralling
story. This self-titled set from principal songwriting partnership Ralf Dörper and
Michael Mertens embodies the depth and drama of their early work, while exploring
fresh sounds and styles, and reflecting the personal and societal changes since their
last outing. Conceived and crafted entirely in their native Düsseldorf, a deliberate
decision to help them stay true to themselves, and featuring guest appearances from
the acclaimed Hauschka and ascendant Thunder Bae, this is Propaganda at their
most essential.
Though an embryonic incarnation was formed by Ralf Dörper, former synthesist with
electro-punks Die Krupps, and Andreas Thein in 1982, it wasn’t until the addition of
Düsseldorf Symphony Orchestra percussionist Michael Mertens that the outfit emerged as
the dark synth-pop powerhouse which would see chart success as part of the ZTT machine.
Upon signing with Trevor Horn’s irreverent imprint in 1983, Propaganda, now comprised of
vocalists Claudia Bruecken and Susanne Freytag alongside Dörper and Mertens, delivered
their classic debut LP A Secret Wish and a slew of international hit singles, “Dr Mabuse”,
“Duel” and “P Machinery”, leaving an indelible mark on the alternative scene and securing
an enduring place within the pantheon of synth-dance greats.
After a late 80s hiatus spent escaping their unfavourable contracts, during which the
singers went their separate ways, the project returned on Virgin in 1990, with a new line-up,
including Betsi Miller on vocals and former Simple Minds rhythm section Derek Forbes and
Brian McGee. Working alongside producers Ian Stanley and Chris Hughes, the ensemble
delivered the smoother sophomore offering 1234, featuring collaborations with the likes of
Howard Jones and David Gilmour. After which our protagonists pressed pause and pursued
separate goals, Dörper resurrecting Die Krupps and Mertens moving into TV and Film
composition and providing a conduit for Düsseldorf’s experimental electronic scene via his
Amontillado Music label.
The intervening decades passed with the persistent rumble of reunion from outside voices,
but it was a 2015 remix request from Zang Tumb Tuum chum and former Frankie Goes To
Hollywood frontman Holly Johnson which finally prompted the pair to reconvene behind the
console. The success of those sessions behind them, Dörper and Mertens began to
consider what the Propaganda of the present would be. A lot had changed since 1990 –
they had changed since 1990, and a new incarnation of the project would have to reflect
that. So they waved goodbye to the Pop-aganda of the past, left the clubs to the kids, and
pressed forward with complete creative freedom. The result is the immersive, emotive tour
de force Propaganda.
At once sleek, sensual and cerebral, album opener “They Call Me Nocebo” is the perfect
introduction to their sonic evolution. This taut and toxic love/lust song is imbued with the
nocturnal mood of vintage Propaganda but expresses itself within the context of the IDM
and electronic sounds reverberating through the 21st Century. “Purveyor Of Pleasure”
provides the perfect foil, as a rhythm section of infectious synth drums and swelling bass
recalls the dance floor preoccupations of the past, but sates itself with a supporting role
here, allowing the widescreen chord progressions and Thunder Bae’s expressive vocals to
take centre stage. Their lyrical lineage of subversive subject matter remains intact, but these
meditations on sex and sin contain seasoned self-reflection.
The operatic inflections and cinematic grandeur of “Vicious Circle” (emphatically reworked
from its 1234 origin), “Love:Craft” (with its lyrical homage to the American master of cosmic
horror) and neo-classical instrumental “Dystopian Waltz”, attest to Propaganda’s perennial
penchant for the dramatic, now enriched through Mertens’ subsequent soundtrack work into
searing, swooning heights. Elsewhere, “Tipping Point” offers an ecological poem set to the
trancelike chug of swirling arpeggiators, and “Distant” dissects loneliness and isolation,
particularly poignant after the shared experience of lockdown.
The beautifully gothic “Wenn Ich Mir Was Wuenschen Duerfte” closes both the album and a
loop, its English translation “If I Had A Wish” harking back to the title of their debut album,
while the song itself continues the exploration of new sonic territories. A German standard
from the thirties, written by Friedrich Hollaender and popularised by Marlene Dietrich’s 1960
recording, the song presents sadness as political strength, and remains as pertinent and
powerful now as it ever has. This rich and textured rendition, featuring haunting prepared
piano from Hauschka, a long-time musical acquaintance of Mertens’ and now Academy
Award winner, is a fitting finale to this powerful album.
And make no mistake, this is an album. In an era of impermanence, Propaganda wanted to
produce something real - to be played from start to finish, with artwork and packaging which
allows a deeper understanding of the theme of the release. Finding the perfect label to
match their ambitions in Bureau B, Propaganda have delivered a third album well worth the
wait.
A1. They Call Me Nocebo
A2. Purveyor Of Pleasure
A3. Vicious Circle
A4. Tipping Point
B1. Distant
B2. Love:Craft
B3. Dystopian Waltz
B4. Wenn ich mir was wünschen dürfte
C1. Not Good For You
C2. Solace In Sin
C3. World Out Of Joint
D1. I Feel Mysterious
D2. The Calling
A2. Purveyor Of Pleasure
A3. Vicious Circle
A4. Tipping Point
B1. Distant
B2. Love:Craft
B3. Dystopian Waltz
B4. Wenn ich mir was wünschen dürfte
C1. Not Good For You
C2. Solace In Sin
C3. World Out Of Joint
D1. I Feel Mysterious
D2. The Calling
