Electronically Yours

Like Yazoo a few years before them, Propaganda's recording career was painfully cut short...but they left us with a album that still generates a sense of analogue wonder with epic soundscapes .



'A Secret Wish' is timeless. It contains no gimmicky studio trickery that would betray its true age. The pop hooks still resonate and grab you between moments of breathtaking sequencing and orchestral arrangements as mighty as Holst.








Brilliantly described as 'Abba in hell' by Paul Morley when the album was first released in 1985 on cassette and vinyl, producer Steve Lipson tweaked and expanded the album for its CD some months later and all these extended versions are included on the lavish and quite brilliant deluxe edition. There are other fascinating insights provided in the linear notes of this deluxe edition including a shocking suggestion regarding possible producers when it became clear that Trevor Horn was too busy (or felt that the source material was too 'dark').

On the morning that EY was blipping 'P-Machinery', we received an intriuging email with the words: 'For once in 25 years... I am prepared to answer some questions - if any..'

EY is now honoured to present an interview with Propaganda's founding member Ralf Dorper who looks back on the making of one of the greatest electronic albums ever recorded, legal fall-outs and a love for 'relentlessly marching basslines'....

EY: How did it all begin for Propaganda MK1 and how did your demos come to the attention of Paul Morley at ZTT?
Was 'A Secret Wish' already completely in demo form by the time you signed to the London label?

Ralf: A long story - starting in 1982 - I try to cut it short:
Firstly for the record: there never was a demo!

Propaganda Mk1 was a trio consisting of Susanne Freytag, Andreas Thein and myself. I started Propaganda after being ousted from Die Krupps early in 1982.


My musical vision was to give machines a female voice.

The name Propaganda actually was adapted from a track I had originally written for Die Krupps. Parts of its lyrics later re-appeared in Disziplin.

Having an EP in mind we recorded 2 Tracks stemming from material which evolved during sessions I conducted with Andreas in Cologne.

The 2 tracks - included some 'dub' mixes - featured the voice of Susanne and were in German: 'Disziplin' and 'Sunde'. The former being inspired by TG's 'Discipline' without being a real cover version...

We intended to get a release in the UK possibly on the label which had re-released my weird early German solo-recordings in England (Operation Twilight Rec).

I sent a tape of these first Propaganda recordings to Chris Bohn aka Biba Kopf. He was a NME collegue of Paul Morley and actually had championed all my weird early stuff in the NME at that time (something like 3 singles of the week in a row...).

Chris informed Morley/Horn and when they signaled interest I put the negotiations about the EP on hold.

All that took place pre-ZTT in 1982.

A contract was signed in 1983 (when ZTT started to exist as a company).
Propaganda was the first band(?) signed after Art of Noise but before FGTH.

With the sudden option of recording with Trevor Horn certainly Propaganda's musical options had changed as well - the new vision was to go total pop!

That new strategy involved creating new material - and expanding the line-up to make it pop - Propaganda Mk2:

Suzanne brought in her friend Claudia - and I discovered Michael Mertens who was percussionist at the Dusseldorf Symphonic Orchestra - by the way he also had studied composition with Karl Bartos of Kraftwerk.

EY: 'Dr Mabuse' was released in 1984 but the follow-up single 'Duel' was pushed back to the following year with some citing the success of Frankie Goes To Hollywoood for the delay. Was this frustrating for you at the time and was Trevor Horn originally assigned to produce 'A Secret Wish'?

One element of frustration was the 'tightness' of ZTT/perfect songs. They did take quite a while to realize that they had to make a financial input as we needed some kind of own equipment to pre-produce and compose properly.

Michael and myself spent a publishing advance on equipment (among others the legendary PPG-system).

In Dusseldorf we prepared new material (took quite a while). But these demos - of 'Dream Within A Dream', 'Duel' or 'P-Machinery' - very much resembled the recorded versions. On 'Dream Within A Dream' we tried out a trombone player from the DUsseldorf Orchestra Michael worked in.

EY: Steve Lipson was choosen to produce the album and did a fantastic job with the sonics behind the mixing desk. Were these recording sessions exciting to be a part of ?
Was there a sense that you were producing a template for future electronic music that would go on to influence acts including Depeche Mode and the Pet Shop Boys?

Ralf: In the beginning I was a bit sceptical as Lipson was a guitar-player...at least Trevor came from the bass (which are often the coolest guys in a band..!)

But Lipson was essential and the perfect choice.

I do not believe that we influenced DM or PSB which were around already - and DM were surely banging on metal because of Einsturzende Neubauten (or should I say Die Krupps) not because of Propaganda.

EY: How long did it take to complete the recording of 'A Secret Wish'?
Many of the track's soundscapes are immensley complex and detailed even today's standards.

Was the album actually completely and 'ready to go' in 1984?

Ralf: I do not recall exactly when we considered it 'done'. There were some deadlines - for sure. But date of completion most likely was last minute 1985.

The process was speeding up after they had enabled us to do our own demo-ing.

EY: Shortly after the album's release, it was quick to gather rave reviews and admiration in the industry for its technical excellence and the album was regarded by many as being ahead of its time.

Was there a sense that you had recording something special that would endure and appeal many years later?

Ralf: I always was of the opinion that you should only record/release something special - otherwise you are wasting people's time.

But often what is special does not appeal.....straight away.

EY: Looking back to 1985, the year of Live Aid and the depressing return of 'stadium rock', do you think the album would have faired better commercially if released a year later?

England is an island... ....and as a matter of fact the album - as well as the singles 'Duel' and 'P-Machinery' - did tremendously well on the continent (but not so much in Germany anymore - funnily enough).

It was really successful in France and French-Canada, Southern Europe and - South America!

In a lot of countries we outsold 'Pleasuredome' - so no complaints.

EY: It's difficult for the listener to see how 'A Secret Wish' could be improved musically or technically. When you look back at the recordings 25 years later, is there anything you would tweak or change?

Ralf: It's difficult for the ones involved as well.

There are some annoying Linn-sounds (the bass-chip!).
On the other hand I am happy that despite using state-of-the-art 80s sound sources we did not go for the obvious ones (roto-toms, Syncussion, F-F-F-Fairlight staccato samples etc.)

EY: Which tracks are you most proud of? Are there any tracks from the recording sessions that didn't make the final tracklisting?

The tracklisting - well, I do not like the idea of spoiling a debut with a cover version. Unless you want to make a statement.

In my opinion it would have been much more of a statement to have a cover version of TG's 'Discipline' on the album instead of 'Sorry For Laughing'.

And I think that too much of Susanne somehow got lost in production.

EY: If EY could have a signature tune then it would most certainly be the final third of the original extended Dr Mabuse mix (7m.05s into the mix that was sadly ommited from the SACD release a few years back).

We think that it is the greatest sequence of electronic noted and synth chords ever recorded. Do you remember much from the recording of this track and how this mix came about?

Thank you. Appreciate.

And a good choice - would be mine as well.
I adore relentlessly marching basslines.

It's harking back to early stages when 'Mabuse' was much more of a track without song structure - and the original equipment used in programming 'Mabuse' were 808 and 303.

But not to forget chords: meisterworks from moodmaster Mertens.

EY: On the subject of remixes, ZTT were infamous for issuing multiple remixes of the same track within weeks of each other on different formats. Were all of these mixes ever presented to you for your approval or did you too have trouble keeping up with the sheer amount of mixes?

Ralf: These were hectic times at ZTT. And it can be so time consuming to keep the artist informed...

Ever wondered about our bad hair days on the sleeve-shots for 'A Secret Wish'?

EY: 'Duel' is a spinetingly pop gem and was a modest hit whilst becoming the BBC's theme for it's RAC rally sports coverage througout 1985.
The single has gone on to be cherished by many who follow this genre and Sophie Ellis Bextor recently covered the track.
What is it like to be involved with such an iconic and highly regarded track?

Ralf: As did Mandy (you know Bill Wyman wink wink...) years ago.

In a way it was high-concept giving in to realism - an artistic failure.

Because the initial concept was to have the duel (of noise and nice) fought out within the song. Maybe a middle-part-duel between dissonance and harmony - very dialectic, brain-heavy - a song for PM.

Didn't quite work out - but luckily at that time there was still the concept of a single. So the dueling parts became A- and B-side.

EY:'A Secret Wish' is such a lush and rich recording much like Heaven 17's 'A Luxury Gap' that also used a real orchestra and only recently broke even.
How much did it cost to record 'A Secret Wish'?

Was it a hugely expensive album to record?

Ralf: This is a tricky topic as you might be aware that there was legal action back in the 80s! So I should say that it was an expensive experience recording the album......

And we recouped in the 90s.

Not sure if we recovered from the experience however...

JVA: Tell us about the interaction between Steve Lipson and the band in terms of the actual production and execution of the music, ie who chose the sounds and rhythms, and arranged the songs etc

It has to be said that after we were enabled to work on the material in Dusseldorf a lot of the material kept most its structure.

But Lippo - and not to forget the THeam! - were essential to provide another sound dimension we would not have achieved otherwise.

EY: 'P-Machinery' boasts two impressive cameos with bleeps provided by David Sylvian and distinctive chants from Heaven 17's Glenn Gregory. How did you get them on board for this single?

Ralf: You are not referring to my distinctive 'Motor' chant at the beginning of 'P-Machinery'?

Sylvain's input was much more than a cameo - he provided much more than bleeps - we owe him, very modest man - and a genius...

But even more impressive (to some) - and also on 'P-Machinery' Beta-version:


Moritz von Oswalt on drums (who much later transformed into Maurizio, Basic Channel!) and John McGeoch on guitar.

And Glenn was around a lot - we shared the management of Heaven 17 at that time.

EY: Just months after the release of 'A Secret Wish', ZTT took the bizarre decision to release the remix album 'Wishful Thinking' against the wishes of the band.
What was the logic behind ZTT's thinking to rush release such a project and did you have any input in the remixes?

Ralf: Logic? - the only logic involved was a solid state (muso inside joke!).

How dare Morley! - It certainly was not up to the standard set by 'Love & Dancing'.

EY: As a fan I wasn't too impressed with this remix album and it seemed like a wasted opportunity and odd considering how good the ZTT remixes had been up to that point.
Was it the release of this ill-timed remix album that made you seek legal advice?

Ralf: Just imagine how it could have sounded with Mantronix at the desk.
Or even Paul Rutherford!

I did not expect that from an 'independent' label - and felt a bit like The Clash when they had their 'Complete Control' -situation with CBS.

EY: A lawyer would later advise you that Propaganda were never likely to make any money from the ZTT contract. Is this why you decided to split the band rather than carry on and had work began on a follow-up to 'A Secret Wish'?

Ralf: Might be money for some - artistic freedom for others - But I am not going to comment on that topic.

The lawyer was Brian Carr who helped John Lydon to get what was due to him from Malcom MacLaren...

And for the record: We had the same contract as FGTH/Holly had - and it is known how the High Court of Justice judged in that matter...

The band did not intend to split.

But what has to be understood about the post-Secret-Wish-period is that the band (but Claudia) got a court injunction by ZTT which meant frozen accounts and no possibility to work (in music) anymore - i.e. no recordings, no live activity.

Propaganda was silenced! - the singer continued.

EY: Propaganda would later surface again in 1990 with only one original member and a pleasant enough single 'Heaven Give Me Words' in 1990 that was surprisingly written by Howard Jones.
What are your thoughts now on this strange attempt to relaunch Propaganda and do you personally now have more control over the band's name and back catalogue?

Ralf: We should concentrate here on 'A Secret Wish'.

But as there are so many wrong (wikipedian)descriptions of the post-ZTT period, here are some more facts:

At the end of the 80s we came to a compromise with ZTT - and exchanged back catalogue for freedom! - i.e. the injunction was lifted.

After years (!) spend with legal matters we (i.e. Suzanne, Michael, and myself) were released from the ZTT contract - and kept the name.

Although - in my opinion - the impetus was gone and too much energy had been spend on legal matters we wanted to continue as Propaganda - to prove that ZTT did not finish us off.

So in fact a new deal with Virgin Records was signed in 1988 - by a band which consisted of three Mark 2 Propagandists, a new singer (which in a way Susanne had casted) and two Simple Minds (Brian and Derek).

This new Propaganda started recording in 1988 what in the end (among the collateral Susanne and myself) became '1-2-3-4'. Do not recall how Howard Jones got involved - I was listening to LWR on the radio...

Actually Suzanne does the vocals on what I consider the best track on '1234' - 'Vicious Circle'.

And I got bored by nice pop during this phase and became 'Dr Acid' - and then re-joined the rhythm of machines...

EY: Were you invited by ZTT to be involved with the new 25th anniversary edition of 'A Secret Wish'?

Claudia was in touch.

And the curator Ian Peel did a very good job. Respect.

EY: In the late 90s, the original line-up began to record demos that including guitar parts from Martin Gore who was a big fan of 'A Secret Wish' with Claudia back on vocals.
What went wrong with these sessions and why did it all fall apart so quickly?

I am not in a position to answer that as I was not involved. But maybe this is an answer as well.

EY: What are relations like now with former band members? You reformed briefly for two live appearences, one for German TV and a superb rendition of 'Dr Mabuse' at Wembley Arena for a Trevor Horn celebration in 2004.

Is there any chance of future live outings for the original line-up?

Did we reform? We got together and waved...

But unlike Abba, Ace of Base or Fleedwood Mac we didn't have any interband-fiddling around. So relations are fine and we leave the attorneys at home when we meet.

EY: Many acts from the 80's are suddenly announcing tours and performing concerts for 'classic' albums which is becoming a bit worrying as some of these albums were never regarded as 'classics' anyway (UB40 etc).






With its dramatic orchestration and filmic soundscapes, will we ever see a time when you will perform 'A Secret Wish' in full?

We can imagine a sold-out gig in the South Bank arts center ;)

As we are German we can imagine a sold out Olympiastadion.

With regard to that concept : I do not get it and frankly I consider it to be quite pretentious.

An album is an album and a live-show is a live show in my opinion. The dynamics of an LP (2-sides, no more than 45 min) differs from the needs of a live performance - unless you have a song-cycle.

So - for Lou Reed's 'Berlin' it worked. But when for example Bowie played all the instrumentals from 'Low'...

But I enjoyed John Foxx doing 'Metamatic' recently in London - or Heaven 17 when they played 'Penthouse & Pavement' in Cologne.

On the other hand Throbbing Gristle playing totally new material in Berlin I found also exiting.

But coming back to your question: it could never happen - I would refuse to play 'Sorry For Laughing'.

EY: Electronic music has seen something of a chart revival lately with a move back to 'traditional' analogue synths and big hooks. Are there any acts that have impressed you lately?

That must have been the British charts...

I love CLIENT who delivered their best works maybe a bit too early to get well deserved chart recognition.

And wonderful (as always) is Arthur Baker's programming for Hurts 'Wonderful Life'

EY: Who are your biggest influences in electronic music and what do you personally consider to be the greatest electronic album of all time?

Ralf: The big influences would be
- RuckZuck on the radio
- 'A Clockwork Orange' and 'Assault on Precint 13' in the cinema
- Keith Emerson stabbing his Moog on stage

All that happened in the 70s but didn´t really make me start making electronic noises.

That trigger definitely was Daniel Miller's 'Warm Leatherette'.

(Image: Ralf in 2008)

The greatest album? Any of these:

- Wendy Carlos Soundtrack of 'A Clockwork Orange'
- John Foxx - Metamatic
- Kraftwerk - Computerwelt
- AUX 88 - Alien FM
- DAF 'Alles ist Gut'
- Martin Rev - Stigmata

+++

Ralf: Puh - that was quite an extended deluxe anniversary Q&A...





(With huge thanks and much respect to Ralf Dorper. Thanks also to Ian Peel for his amazing work on the deluxe 'A Secret Wish' and Babooshka for Q&A feedback).

For those who heed the call of the machine, EY salutes you...

See below on how to win a copy of the deluxe 'A Secret Wish'

EY is this week celebrating the re-release of one of the greatest electronic albums ever recorded - Propaganda's 'A Secret Wish'.

EY HQ has teamed up with the legendary and much admired UK label ZTT who have kindly donated some shiny remastered prizes to readers across this glorious globe.








Ask any electro fanatic to name their top five albums of all time and the chances are that 'A Secret Wish' will be listed along with the League's 'Dare', Heaven 17's 'Penthouse & Pavement', Depeche's 'Black Celebration' and Yazoo's 'Upstairs At Eric's'.


ZTT have put together a terrific release for the 25th anniversary of 'A Secret Wish' with a deluxe 2-CD edition full of unreleased remixes, previously unseen Anton Corbijn photos and sleeve notes from the original Propaganda line-up.


Perhaps most exciting of all is the 20 minute version of one of our fave songs of all time 'Duel' that was previously only available on a cassette single.




This much admired Propaganda debut represented a massive technological leap forward in electronic music from the moment it was released in 1985.
With precision sequencing, lush orchestral arrangements and nifty Fairlight programming, 'A Secret Wish' would go on to catch the attention of Martin Gore and Neil Tennant who would both cite the album as a major influence upon their respective knob twiddling careers in electroland.



A mega EY interview with Propaganda's founding member Ralf Dorper will go live tomorrow but in the meantime you could be in with a chance of winning one of three deluxe prizes of this landmark album.



If you consider yourself a ZTT/Propaganda disciple, then the chances are that you'll also love the Art of Noise. . .






Famed for their innovative production techniques and use of samples (Prodigy would later sample 'Close To The Edge' for 1995's PIL inspired 'Firestarter), Art of Noise first hit the UK charts in 1984.


Madonna even walked down the aisle with moody actor Sean Penn in 1985 to the epic overtures of beauty track 'Moments of Love' before it all went so horribly wrong (with the movie 'Who's That Girl).





Bigger chart hits would follow in the mid 80s with 'Paranoimia' with Horn and co also giving Welsh crooner Tom Jones a pop career make-over with the rather good cover of Prince single 'Kiss' in 1986.

'Influence' is the most comprehensive Art of Noise collection to date with singles, b-sides. choice album cuts, remixes and a second CD full of unreleased tracks.
ZTT will also send out copies to three lucky EY readers and all you really have to do is send us your name, postal addy, which album you would like to win (could be both) and the header 'ZTT Giveaway' to this link.


The closing date for this comp is July 31st 2010.

(With thanks to Ian Peel)

Related Link:
ZTT Records





News in brief





One of EY VOL 1's most successful acts Parralox will be returning to UK shores for a prime slot at this year's 'Infest' later this month and are also set to release a brand new single called 'Supermagic' on August 27th to tie in with the festy appearance.

This Bobby O/Kylie/Disco inspired number is the first track to be lifted from the forthcoming 'Metropolis' album (due November) and the limited CD single comes with several remixes and bonus tracks including our choice track in this new package entitled 'Failure' which is inspired by The Human League's 'Reproduction'.




To pre-order your copy, please jump here.






There seems to be a 'Wall Of Silence' regarding new Human League material at present.

Hopes that the League would premier the new single were dashed last weekend when they headlined the Guildfest festival (the first live date of the Wall Of Sound era).

Things could be happening online though with the first official League website since the blurry days of the East West era back in 1995.


Currently containing just one page that features the new logo by Stig Olsen of Denmark, the sites URL was previously owned by Martin Wilson and is now back in the hands of the League's management.

Be sure to bookmark this page as it will be the first with official League news in the coming months.

According to some unnoffiical sources, the band are still working on the new album in the studio.

The League will be sharing the stage with those other Sheffy legends Heaven 17 on Saturday night for the Galway Arts Festival and readers in Ireland can find out more here.

(With thanks to Stig)


Related Links:
Secrets - The Human League forum
Human League - Graphically Yours

Elly Jackson has recently admitted on Twitter that her follow-up album may not see the light of day until the summer of 2011. Recent chart success in the US where La Roux scored a huge Billboard hit with 'Bulletproof' has inevitably pushed back recording sessions.

The next single Stateside will be 'In For The Kill' which was one of the biggest selling singles last year here in the UK and one of the few to top sales of one million.

The second offering from LCD Soundsystem's third and rumoured final album 'This Is Happening' is the infectious 'I Can Change'.





Shimmering synth driven dance beats for this one, thankfully, after the first single 'Drunk Girls' sounded too much like a diluted b-side from the 80's Bowie era.

Post punk disco seems to be their thing and with no hiding of their musical influences, this track sounds like a bit of Talking Heads mixed in with some Yazoo.
Catchy and memorable hooks cheering up a track that is essentially about trying to change yourself to make someone fall in love with you.


Film soundtrack it may scream with lyrics like;

'Tell me a line make it easy for me
Open your arms
Dance with me until I feel all right'

But it's a goody nonetheless and in keeping with the sometimes cringy disco sentiments of pop; the boys as guilty as the girls of this even if they hide behind robots and underpasses.
LCD pull it off, however, in Morrissey style proportions especially when he bleats about 'love is a murderer, love is a murderer'; it's that moment when you want to laugh at 'Girlfriend in a Coma' or 'Unhappy Birthday' because it's being sung with resentful beauty.

Frontman James Murphy is also known for his eccentric humour and bitter lyrics and although they can be a bit 'hit and miss' for EY, his love and homage to early 80's music will ensure some great electro pop tunes will be found on the new album 'This is Happening'.

LCD Soundsystem have no fear with their music; always tightly produced but scarily marrying synth and guitar on occasion, lyrically weird at times and just to add to it, if the boys are the electro headliners for 2010, he's the burly bus driver of them all and looks like he could have been there first time round.

'I Can Change' is out on 26th of July and they will be gracing the line up of the electro treat 'Bestival' in September too.

Related link:
LCD Soundsystem @ Myspace
Album version of 'I Can Change' on Youtube

Not to be confused with dodgy looking Canadian 'grunge' band The Monarchy, London's mysterious boy duo Monarchy have something lovely for your ears.

Already a fave over at Popjustice and NME this week ahead of the single release in August, Monarchy's debut 'Love Get Out Of My Way' should delight all those who appreciate the quirky and funky electro of Daft Punk and Hot Chip and infinitely more agreeable than that electro clown Calvin Harris.

Perhaps not quite as instant as last month's joyous find with May68 ( 'My Ways' has reached over 600 plays via EY referrals to YouTube), 'Love Get Out Of My Way' may take a few listens.

Three blasts should be enough before the loved-up chorus takes over that part of the brain that positively demands and feeds upon nu-electro of the dancey kind.

Band photos of this electro duo don't reveal too much, Monarchy like wearing face masks ('the Slipknot of electro!' says Babooshka) and it's a theme that is pretty much carried over to the rather brilliantly directed promo video with robo-dancing medieval 'knights'.

This all could be inspired by New Order's equally barmy but colourful 'True Faith' video of 87.



Related link:
Monarchy @ Myspace


(With thanks to Babooshka and Barry Rosier)

Nil points though to Ou Est Le Swimming Pool who tried to do something similarly lavish for their fab new single 'Jackson's Last Stand'.
The Pool Boys' effort would only serve to confuse and bemuse if we put it on EY (we can't work out a single frame).

Nice song, shame about the video but you can view it here.

'EY VOL 1' wins a European design award!

EY's blindingly poptastic electro compilation 'EY VOL 1' last week won a major design award for EMI and the Undo Records design team.



Picking up bronze in the European Design Awards 2010 for its gatefold packaging and poster inserts, judges were pulled from 14 major design magazines across Europe and the website had this to say about Undo's award winning packaging:

'Electronically Yours' is a compilation (of) tracks by european electronic music band(s). The artwork mainly consisted of two illustrations combining the theme of commitment and personal attachment with that of the robotic mechanism, elements related to the title of the CD and the type of music: a faithful dog and a - almost horse like- creature.
The typography, the illustrations, and the paper was used in a way directing a DIY overall feel'.

Congratulations to all those involved and deluxe copies of 'EY VOL 1' can be purchased online via MNS.