ZANG TUMB TUMB DISCOGRAPHY “…which deny the freedom of the flesh…”

a residual entertainment

PROPAGANDA’S

DUEL

(bitter-sweet)

the song which fiends and angels sing… word for word.

Ztas8

’the second only makes you wonder’

(ZTT logo)

EYE to EYE

tooth

BLOW by BLOW

face

FACE to FACE

eye

TOOTH for a TOOTH

blow

Susanne compels her boyfriend to do infamous things, Ralf loves flowers and certain special smells.

Claudia takes an interest in shocking and disgusting things, Michael’s ambition is to compose an immortal Hymn.

PROPAGANDA’S

DUEL

a song taken from the L.P. ‘A Secret Wish’ ZTTIQ 3

Michael Mertens: writing, programming, identifying, demonstrating. Ralf Dorper: writing, pursuing, defining, translating. Claudia Brücken: writing, corrupting, raging. Susanne Freytag: embracing, accumulating, singing, demanding. This is Propaganda: their ambition is to make some repairs. What motivates then? Error, and terror.

Thus, in roulette, the model based on binary opposition — the ‘duel’ model — is not exactly discarded: rather, it undergoes a process of muliplication and over determination. It is never wholly clear who th enemy is, to what extent, or why. And here the analogy with the mechanism of Blazac’s novels enters into play. His narrative also stems from several simple irreducible oppositions (whether of sentiment or of interest is secondary here) which are mixed in so dense and asymmetrical a combination that the moment of direct conflict — conclusive precisely because open and direct — inevitably becomes more and more marginal: whether it be a conflict between social, or political or cultural fields, or a conflict between individuals. It is well known that the last page of Pere Goriet contains Rastignac’s famous cry from the heights of the Pere Lachaise: ‘We’ll fight this out, you and I.’ A gauntlet has been flung down with ostensible certainty. Less well known, but far more relevant, are the two lines that follow: ‘And, as the first move is the challenge he was flinging at society, he went back to dine with Madame de Nucingen.’ Finis. The duel with never occur. As for the challenge, it is to be a highly tolerable sentimental triangle.^[1]

The problem can be posed thus: what is the sex of vampires? Vampires, unlike angels, do have sex. But it changes. In one set of works (Poe, Hoffman, Baudelaire: ‘elite’ culture) they are women. In another (Polidori, Stoker, the cinema: ‘mass’ culture) they are men.^[2]

the THIRD SIDE

Duel

the FOURTH SIDE

Jewel

“I’ve looked at life on both sides now”^[3]

12 ZTAS 8

’some moments are more lively than others’

The next Propaganda singles is ‘p-Machinery’

A seven inch (ZTAS 8) is the beginning of the dual entertainment,

’the first cut won’t hurt at all…’

Produced by S.J. Lipson, junior engineer Bobby Kraushar, zang tuum tumb’s musical director is Trevor Horn, sleeve designed by the London Design Partnership with z.t.t. ‘taking off…’

Photography by David Levine (screams) and Peter Brown (skin shots) captured at various times in different rooms in the East End of London. Painting of the Beaten Heart by Anton Corbijn, snatched from inside the body. Propaganda management: Keith Bourton at heavenly management.

Catalogue number 12 ZTAS 8 (making it number eight in Z.T.T.’s concerned Action Series).

(Island logo)

45 r.p.m.

very stereo

produced S.J. Lipson

published by perfect songs ltd.

12 ZTAS 8

℗&© 1985

zang tumb tuum

’face to face’

(ZTT logo)

(Island logo)

A

Propaganda’s

DUEL

(bittersweet)

the third side.

(brücken-dorper-mertens)

unauthorised public performance, broadcasting and copying of this record prohibited, all rights of the manufacturer and of the owner of the recorded work reserved.

45 r.p.m.

very stereo

produced by S.J. Lipson

published by perfect songs ltd.

12 ZTAS 8

℗&© 1985

zang tumb tuum

’tooth for a tooth’

(ZTT logo)

(Island logo)

B

Propaganda:

the fourth will have you on your knees…

JEWEL (cut rough)

(brücken-dorper-mertens)

unauthorised public performance. broadcasting and copying of this record prohibited. all rights of the manufacturer and of the owner of the recorded work reserved.