Brand new album from Propaganda, their 3rd album, and their first for over 30 years feat guest appearances from Hauschka and Thunder Bae.

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.

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 rolehere, 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 AcademyAward 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