Pro­pa­ganda/Tan­ger­ine Dream col­lab­o­ra­tion bears fruit.

Prog - - The Musical Box -

Although she has in­ter­mit­tently re­united with icy Ger­man synth-pop noirists Pro­pa­ganda, the band that first made her fa­mous, Clau­dia Brücken has since kept busy by col­lab­o­rat­ing with sev­eral dif­fer­ent mu­si­cal part­ners, as well as forg­ing a solo ca­reer. This hook-up with Jerome Froese (for­mer mem­ber of elec­tronic pioneers Tan­ger­ine Dream, along­side his late fa­ther Edgar) is def­i­nitely one of the more in­ter­est­ing projects she’s put her name to, even if it’s closer to the avant-pop blue­print she was first known for than TD’s am­bi­ent elec­tronic dream­scapes. (The) Last Dance is dec­o­rated with rainy streaks of synth as Brücken sings a re­signed lament with a weary el­e­gance. Wounded’s aquatic key­board mo­tif is sim­i­larly al­lur­ing, and then the sonic tex­tures cloud over as she ad­mits, ‘For your crime

I am pay­ing, like a pris­oner I’m serv­ing my time,’ be­fore emerg­ing back out into day­light. The fu­ri­ous tempo, techno bleep­scape and aus­tere dystopian spo­ken vo­cal on Sweet Sense (of) Lib­er­a­tion (why all the brack­ets?) may be a touch too 1984 throw­back for com­fort, but the lush, lul­laby­ish dream­pop of Forever­more could se­duce even the dourest of techno pu­ri­tans. Js

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