From Sam

My Patreon backers give a small monthly donation, to help fund the creation of my art. They get additional private blog posts. You can join for as little as $3 a month. It’s a really nice way to keep the art flowing.

Ashes in the brittle air – patron-exclusive digital editions of 2 cassettes from late 80s

  • August 4, 2019

2019 is the 30th anniversary of Black Tape For A Blue Girl’s 3rd album, Ashes in the brittle air. I’m gathering together material for a deluxe edition. Howard will remaster the album from the original source; I had my guy in Canada transfer the 1/4-inch 2-track mix to high-resolution digital. I also had him transfer 6 unreleased tracks from the 1/2-inch 8-track tape; I’m almost done mixing them for the bonus disc (they sound amazing!). I’m going through my cassette archive to find interesting demos and early mixes for you. I’m already at 45 minutes of bonus material for disc 2, and there’s still more to gather.

With CD sales the way they are these days, how can I afford to do this?

The simple answer is you allow me to do this. Some of the band’s hardcore supporters pledge at my bandcamp patron area which provides the funding to pay for this pre-production work, and also a bit to me for my time. It’s great knowing people are moved by the art I create and want to help me make more of it!

You can help for as little as $5 a month.

In the past two weeks, I digitized the cassettes shown above, making them available for my patrons. Cassette vol. 4 + 5 pre-Ashes 1987 contains 15 tracks & Cassette vol. 6 pre 15 April 1988 contains 18 tracks. A good chunk of these pieces have never been heard before (some for good reason!). They’re a real slice of the 80s, for those of you interested in the genesis of this classic album. Most of those tracks will not be on the bonus disc. Click the links for track listing and read my recollection. They are available streaming or download; I will transfer a couple more cassettes before the month is over.

Patrons get a lot of exclusive material!<

I’m unearthing all of this in advance of the upcoming Ashes in the brittle air Kickstarter for a 1-LP clear vinyl edition and a 2-CD deluxe edition. I expect the CD will ship before the holidays and the LP in early 2020. There’ll also be cool memorabilia and exclusive items for those who want to help out with a larger pledge. Plus a very reasonably priced download of the 2-CD edition.

I’m finding all sorts of cool images, old press, etc. in my files — this will be really great. Thanks to everyone who has given me encouragement. It’s so nice to read that Ashes is some people’s favorite album, along with little recollections of where you were when this album touched your lives. That makes it so worthwhile!

P R O J E K T | P R O 2 6

July 6th 2019 update

  • July 7, 2019

It’s been a long long time since I’ve sent a Black Tape For A Blue Girl blog. So what’s been going on… ?

I’ve fulfilled nearly all the Gesture of History Kickstarter backer packages. Still a few addresses I’m waiting on. For the rest of you who’ve been itching to hear my collaboration with Nick Shadow (viola) and Steve Roach (synths/enhancements), the download is free/name-your-price on the BlackTape Bandcamp page; the black LP and CD are available for purchase.

I’m really pleased with the album! Give it a listen, see what you think.

“Haunting, beautiful and dreamlike …a shimmering panoramic soundfield, with Shadow’s viola being the only immediately recognizable instrument, enveloped in warm synth textures, occasionally rising up through the fabric to provide colorful dreamy melodics and intense highlights.” – Peter Thelen, Expose Magazine

Rye: LOVE KNOWS NO GENDER T-shirts for (almost free)

There are 10 shirts left, I’ve put them on sale. $1 + postage = you get a copy! Medium and XL still available.

One of the reasons I forgot to send an email list in so long is because I post a lot of my thoughts in the Black Tape For A Blue Girl patron area. For less than the cost of a download, you can become a monthly patron! You get 17 downloads immediately for just $5. ;I interact with everyone in the comments area.

What do I do& with Patron funding?

I bought a DAT machine on Ebay for $95. I’m beginning to transfer my old DATs. First up: I grabbed backing tracks from our 1996 live show for a couple of “new versions of old tracks” we ‘re working on.

=A more pricey use of Patron’s funds was $592 to repair my Canon Mark 5d ii. This camera has been my trusty photographic companion since 2009. I first used it on the 10 NEUROTICS album, and I think you see an improvement in the quality of my photos at that point. It also shot videos for “the pleasure in the pain” and “marmalade cat” as well as all my Kickstarter clips. I got it back earlier this week and it’s working great! This is the camera that shot TO TOUCH THE MILKY WAY, THESE FLEETING MOMENTS, etc etc. I really love it and I’m glad I’ll have it for another 10 years of creating… Thanks to patron’s monthly support I can fix my tools so I can keep making art!

In the image above, you see that Patrons are listening to rare collections I put together; these tracks will probably not be released anywhere. I uploaded a rehearsal from 11-2-99 (for the two shows that Vicki Richards played with the band), and the first version of Ashes in the brittle air (early mixes including tracks that didn ‘t make it onto the album).

Join us in the Black Tape For A Blue Girl patron area.

Speaking of Ashes in the brittle air, 2019 is the 30th anniversary! I used some of the patron $$$s to send the 2-track 1/4-inch stereo master to my guy in Canada, who baked the tapes and did an über-high-resolution transfer to digital. Howard, my mastering engineer, has those files and he’ll begin on a 30th anniversary remaster. I’ve been working on mixes of 5 of the unreleased “first version” tracks. One of them, “Griffith Park” has been released on a few compilations, while four of them have never been released. They’re sounding really good. The next step is to run the vocals through the reverb, and work that into the mix. Then they’ll be ready for Howard.

If you’re curious about the first version, I posted a blog about it.

I’ll Kickstart the 30th anniversary edition soon. I’m thinking of premiums. Super-fan Scott & I & the other patrons have been discussing vinyl. I’m thinking I might do a Lathe Cut 7″ single of a new mix of “Across a thousand blades.” More on that as I get the details figured out.

Do you have any live photos?

I added a few 2007 live photos to the BlackTape Gigography Page. Do you have any photos from our shows? Please email them to me so I can add them. All I need is the year and the city and I’ll figure out where they go. The camera in phones are so good these days that you can get them to me that way; no need to scan or anything like that.

A the Gesture of History Kickstarter backer wrote, “thanks much – love the work – don ‘t sweat the small stuff…:) i know it’s hard when it’s your livelihood, but I’ll keep supporting as best I can – have a great weekend.”

I replied, “Alas! This isn’t my livelihood. My Kickstarter campaigns cover manufacturing costs, and maybe put a bit of money in my pocket. But not enough to live off. Not complaining, just sayin’ 😉 I appreciate your support, that’s for sure! I couldn’t release music without it.”

With the transition to streaming, it’s a tough time for artists on the fringes. I create my art for those of you that support my art. When you put some of your hard-earned income towards my physical releases I feel good knowing my work has meaning and value to you. Thanks!


My vocal guides (patron exclusive)

  • May 24, 2019

Black Tape For A Blue Girl patrons are listening to four guide vocal tracks from To touch the milky way. You can listen too! Support my creative process with a donation of as low as $5 a month. You get a bunch of free past releases, and exclusive releases like this one. Thanks!

A few patrons have expressed interest in hearing more of my guide vocals. These mixes are akin to the files I sent to Michael and Danielle, so they could learn their parts for To touch the milky way. I think when people hear the album, they assume the vocalists created their own melodies; in fact you’ll hear that I am very specific with what I have in mind. I spend months with the lyrics and backing tracks, perfecting the timing and melody.

Become a patron here, at Bandcamp.

Poster Sets

  • April 4, 2019

I’m digging in the storage space, finding cool vintage Black tape for a blue girl memorabilia for you. Today, I have a set of six posters for $60.

Six vintage Black tape for a blue girl Posters. 3 large format (24×17″), 3 medium (11×17). These were stored flat, in quite good shape; but there could be some bent corners or waving from the years. Sold AS IS, but like I said, quite good shape for how old these are (10-20 years old!). Large: the Rope, Remnants of a deeper purity, As one aflame laid bare by desire. 11×17: the Scavenger bride, Halo star, 10 Neurotics. I have around 25 of these sets available.

Click for larger image

I’m regularly packaging up orders with CDs, LPs & Merchandise. I enjoy that. I like knowing BlackTape’s music is going out to people, that it’s going to be enjoyed. See what I have available at our merchandise store at Bandcamp.

A [VIDEO] interview with Danielle Herrera

  • March 19, 2019

Dani answers some of your questions about singing on To touch the milky way at YouTube

You Did It!

  • March 8, 2019

You did it! We reached the goal with 24 hours to go. Your support made the The Gesture of History crowdfunding campaign a success! 265+ amazing people said, “Yeah, I like this! I want to be one of the backers that ensures there’s a physical CD & LP!” That’s remarkable! I’m so grateful. If you missed pledging the campaign and would like a copy, visit our Bandcamp page.

From New Zealand.

  • February 23, 2019

Hi Sam, I pledged The Gesture of History. It’s not much, but you and your projects have given me a lot of pleasure over the years. So this was a no-brainer and the right thing to do. Good luck from New Zealand, Paul

Hey Paul, $20 is still $20! It moves the campaign closer to the goal, so it’s very helpful. Best, – Sam

I’ve been following your work and your Projekt roster since the late 80s. The music world is in such disarray at the minute – it’s all image over substance and production over talent. We need you now more than ever! – Paul

Ha! I think there’s always been a faction of the music world that was image over substance (ie: much of MTV in the 80s, all the bad California bands in the 70s). But I know what you mean, and I appreciate it. – Sam

The Gesture of History (CD/LP) | Kickstarter

  • February 8, 2019

I’ve launched the Kickstarter to fund the CD and LP edition of The Gesture of History. I’m really thrilled with this instrumental collaboration with violist Nick Shadow and synthesist Steve Roach. It evolved from recordings around Blood on the snow/To touch the milky way into an album I think really stands up on its own! Listen to a preview track at our Bandcamp page.

The Gesture of History draws upon introspective passages where the organic texture and emotions of the viola play out over an atmosphere of engulfing mournful beauty. Delicate strings float upon shimmering, forever changing expressionistic backgrounds of processed viola, synth, and harmonium – sensitive and deeply moving. The modernist ambient compositions balance on the precipice, looking back in moments of reflection and rumination, while delicately holding the future in our hands.

I’m crowdfunding on Kickstarter where you can get involved to help create the CD and LP. Like when you donate to PBS, you’re contributing towards something you believe in. And you’re becoming a patron of the art. I really appreciate that many of you have already pledged on Kickstarter.

Something helpful for my European backers:

I’ve noticed fewer European backers on my recent campaigns; I suspect expensive shipping is the big consideration. Shipping often costs around the same as your pledge! To deal with this problem, I’ve partnered with a German webstore so all European premiums (in the under $100 tiers) will ship from “Projekt’s European Webstore” in Siedlinghausen. Read more about that here, with estimated shipping charges.

Thank you so much for helping this independent, fan-funded album see the light of day.

If you backed last year’s To touch the milky way Kickstarter campaign, you get a free download of Gesture immediately. If you don’t have that email in your inbox this backer-only update for a link to your download.

There’s a variety of CDs, LPs and other cool merchandise at our Bandcamp store. Including the only-now-available fleeting CD with the tracks from the Limitless and Bike Shop EPs, plus two otherwise unreleased tracks.

Here comes 2019, with a bit about 2018 (and flashbacks to 1989)

  • January 12, 2019

Hello. Another new year has begun. It’s hard to imagine it, really! When I write “2019” on a check or invoice, I stare at it for a second and think, “Huh, no way! You serious about that!?” 2019 is the 30th anniversary of Black Tape For A Blue Girl’s 3rd album, Ashes in the brittle air. I was doing an interveiw last night with a guy writing a book about 70s and 80s independent ambient music; he said the first time he heard my music was the track “Across a thousand blades” on a CMJ compilation CD. Ashes was how many people first discovered my music. After 2 releases on vinyl, it was the first CD release from the band (and from Projekt); it got the music out there quite a bit.

I’ll have more to say about Ashes in a minute, but first let me look back to a closer poit in time, 2018.

2018 was a great year musically. I finished the To touch the milky way album, Kickstarted it on CD/LP, drove around Oregon with Mercy to shoot photos for the deluxe edition, and got it manufactured and mailed out to all the backers. I talk a lot about the very cool people who support my music, and I’ll tell you why: backers are how I’m able to release my music these days. CD sales continued to plummet in 2018, streaming is king for generating income for musicians. My music is pretty “cult” (as they say in Europe) and “fringe” (as we say here in the USA). Even with half a million streams on Black Tape For A Blue Girl in 2018, that’s not enough to live off of, it barely covers a month’s mortgage. Your direct support allows me to keep releasing my music.

I appreciate that.

In late 2018, I also finished The gesture of history album which you’ll be hearing a lot more about very soon. This is the short description I am working on to describe it at Kickstarter: “Viola-based textural ambient drift music from Sam of Black Tape For A Blue Girl. Developed around Shadow’s viola, with enhancements from Steve Roach.” I gave an advanced unmastered copy to Scott (a patron and über-backer), he wrote, “The rich sound creates a hallowed, perhaps mournful, atmosphere. Far from being overtly dramatic, yet entirely recognizable as BlackTape with similarities to past instrumental pieces such as “With a million tears” (Mesmerized by the sirens), “With my sorrows (2012) (Remnants of a deeper purity deluxe), as well as Sam’s 2017 solo release Isotope and Terrace of Memories, his early-90’s collaboration with vidnaObmana.”

I know, I know! It’ll be much easier to figure out what this album is like when you hear it. In fact, everyone who backed To touch the milky way will get the download of Gesture once I receive the master from Howard. This will be around the Kickstarter’s launch in early February. I’ll be crowdfunding a CD/LP release.

Naturally, I am going to pay Shadow and Steve Roach for their involvement. In order to keep the Kickstarter goal manageable, I’m thinking of paying them from funds contributed by my Patron supporters. About 1/3 of 2019’s support (at current levels) will go to pay Shadow and Steve’s royalties. It’s cool, that’s why people are supporting me at my Bandcamp patron page: you help me cover the costs of creating my art.

Speaking of support, when I launched the Patreon-version of my patron area (back in 2014, I believe) I mentioned that if I reached $800 a month in patronage, I’d take a dedicated day a week off from Projekt, to work on art. We never quite got to that goal; backing is currently $408 a month at the rebooted Bandcamp patron area. Still, I’ve decided to take Fridays off. Working on this email list is part of making my art, just like writing the copy for the Kickstarter is part of my art. I’m also working on a video for “In my memories,” and soon I’ll be back in the studio working on music.

Speaking of patrons, I just got a new $5-a-month supporter this morning. Thanks!


And since I wrote this update, I’ve gotten another $5-a-month supporter, and a $10-a-month supporter. Join here and get the Exclusive Download of Ashes in the brittle air First Edition and 16 other downloads too! Thanks so much!!

Ashes in the brittle air (the unreleased first version)

  • January 11, 2019

My Patron backers are listening to something quite amazing. It’s a very different first version of Black Tape For A Blue Girl’s third album, Ashes in the brittle air. Let me tell you more about it.

Loren – vocals & acoustic guitar
Sue kenny-smith – vocals
Sam rosenthal – electronics

The Ashes archeological dig….

Ashes in the brittle air (the previously unreleased first version) is not recognizable as the album you know; this is a chance to hear a different 3rd Black Tape For A Blue Girl album. I scrapped this version, cut it apart, salvaged some tracks and reworked others. There are five unreleased songs, along with versions of six songs that appear on the final album. What you’re hearing is unmastered; it really needs an engineer to pull it together to sound coherent. But for the moment, it’s an interesting artifact from the late 80s.

Something quite different to begin the year of the album’s 30th anniversary.


Let me tell you the story of why this version of the album never was released.

I lived in Orange County, California, when working on the Ashes in the brittle air album in 1987/88. I moved from Florida in ’86 for my last 2 years of college. Over the course of recording, I graduated and started my first full-time job. I was 23; I worked on music nights and weekends using the analog 8-track in my friend Walter Holland’s studio.

I believe I met Loren through a letter he mailed after hearing my 1985 Tanzmusik solo-electronic LP. I loved Oscar’s vocals on the first two BlackTape albums; there wasn’t a problem that led me to look for a different vocalist, it just seemed like a cool idea to find a local bandmember to work with.

Loren suggested we reuse two tracks from Tanzmusik as backing tracks for new songs (“The Return” is renamed “We return,” but is not the “We return” that appears on The Rope. “Year 90-10” became “Let the rainfall.”). When looking through my cassettes of rough mixes, the first two songs we worked on together are “We Return (from Loren’s 8-track)” and “Pop song (through sky blue).” They are both attempts at writing more commercial tracks. The early version of “Sky blue” with Loren (and no Sue), is bonus track #14. I know we worked on it for a while, but it just didn’t gel for me; I rejected it before the album was mixed; but for a long time it was slated to be included.

At the time (and still today) “Return” and that version of “Sky Blue” sound amateurish, they’re trying to be new wave, new romantic pop. I do like Loren’s vocals on “We Return,” but we threw in the kitchen sink in an attempt to succeed; the songs just don’t come together. Hey, I’m not blaming anyone but myself, I played the music on them! To me, they seem like Loren and I getting to know how to work together. Usually, I’d scrap the dodgy pieces and write better ones. With Loren coming over regularly to work on music, I’d try to change the things I didn’t like or didn’t think sounded BlackTape-enough, but I had a hard time getting rid of these two tracks.

On the other hand, I was excited when we hit on pieces that worked well, that’s why we kept working on music together. Of the songs I removed from the album, I think three worked nicely. “Let the rainfall” and “The sound of waves” are moody and image-evoking track (“Waves” is the first song I played guitar on). Loren brought in the track “Milan” already formed. We recorded it in Walter’s studio, I added some synths, but that piece is almost all Loren, and it’s lovely. These three would have made a nice EP, come to think of it.

(Aside: Interestingly, I see on Cassette Vol 6, April 1988, I was thinking of calling the album The hypocrite is me. There wasn’t a song named that at the time, it’s a title that ended up being used for a track on A chaos of desire.)

Songs were coming along, lyrics were getting written, and Loren’s vocals were recorded. I flew to England to record Sue Kenny-Smith on the songs written for her. Sue improvised “Is it love that dare not be?” in the studio. I don’t know if she’d already written it, or if it just came to her in the moment. She played it the way you hear it. One take most likely. Nice!

But back in California, Loren & I were having disagreements. We were butting heads about the songs. I felt there was some good material, and some stuff that should be rejected and replaced. Yes, we worked hard on those tracks, but I think you have to be bold and not cling to the mediocre pieces, especially when they stick out in comparison to superior tracks. They needed to be tossed to make room for something better. Also, keep in mind this was planned as an LP, there was a 40-minute time limit.

The other issue is a bit more personal. BlackTape is my band, I didn’t feel I should have to have disagreements with other people I invited to participate and assist me. I’ve never given others final say in BlackTape. It’s always my decision on which pieces make it onto the albums, or who sings which song, etc. Loren was not happy with what I wanted to do. I felt the album was weak in places, and his lyrics were New Agey and not in sync with the lyrics I wrote. I wanted to make changes to get the best album I imagined.

Part of the problem is expectations. Over the years since, I’ve never recorded vocals for a song I didn’t believe in and felt might not go on the album; I never want to waste a singer’s time, have them think their performance was going on the album and then let them down by cutting the track. On Ashes, it seems everything that was worked on was getting shoved onto the album, and that was a problem.

Now let me stop for a moment, and be realistic. I don’t want to write this like I’m the hero of the story, and Loren is the bad guy. This is about artists making art, and having different visions; a difficult situation. Creativity is subjective, and perhaps if Loren had been in charge of the album, and I was in his band, it would have turned out to be something quite interesting. But it wouldn’t have been Black Tape For A Blue Girl. I am the director of this band (true, at that point it was only three years into the band’s existence; but there were already two albums out, and before that I had recorded 10 instrumental cassettes.) I had an overall vision, I knew what was or wasn’t the 3rd BlackTape album I wanted to make.

To be fair, Loren was enthusiastic about collaborating, and he strived to have the music exist the way he wanted to hear it. He was doing work he believed in, and standing up for his ideas. I know now I could have been more clear from the beginning about how I envisioned the collaboration. I messed up letting it get too far away from my initial idea of working together.

These are things I see clearly in retrospect. I was just 23 at the time.

What I know is I was not happy with my own album, and it was no longer fun working on my music. Art needs to satisfy the artist. I understand why bands explode from “Creative differences.”

(And yes, it is true, at times I talk about BlackTape and myself interchangeably. “My album” shows how connected I am to what I create, even when I’m working with bandmates on the music.)

By late summer 1988, the mix was finished, and included songs I didn’t believe in. Plus there was another problem. Walter Holland had assisted me with mixing Mesmerized by the sirens, this time I did this mix myself. It showed! The engineering on the multi-track recordings were not great, and the final mix was shrill. I just didn’t know a lot about sound, from a technical perspective. I recorded to 8-track tape, then mixed through an old 16-channel board to an 2-track open reel. There was a lot of knob moving that needed to be done in real time, and fader fading, and sending to reverb and delay. It was tough to do a good mix of a track start to finish, especially as there was no compression available. I was trying to ride the levels on the tracks along with everything else, because the volume levels were all over the place.

This shrill mix – completed after a straight week of work – was just one more problem with the album that pushed me to a breaking point. I was dissatisfied with my mix, and dissatisfied with a number of the songs… I did what artists always do: I freaked out!

Loren and I had a falling out (though I cannot remember the particulars of that), I cut a bunch of songs and wrote new ones. Cassette Vol 10 is named “Post Seperation 1988.” I remember calling Oscar, stressed and anxious, to ask if he’d sing the new track “Across a thousand blades” and “The Scar of a poet.” These turned into two of the best known songs from the band’s first five albums. When listening to the final version of “Poet,” I know definitively that Oscar is the person meant to sing the song. It’s a perfect showcase for his style and voice.

I was motivated by the pressure of having only half an album completed; I created a number of new songs quickly, and reworked a few of the existing ones to remove Loren’s contributions, and pull something interesting out of the recordings (“Ashes in the brittle air” and “Through sky blue rooms” were especially nice in stripped down form; another piece with Sue turned into “You tangle within me.”) I wanted to keep everything I recorded with Sue, as those three hours in the studio were so productive and beautiful.

Listening to the final album today, I regret that Oscar only sings two songs; I should have asked him to sing some of the ones on the 2nd side, or written a few more for him (imagine if I had written another couple songs like “blades” and “poet!”). I probably felt a time crunch to get the album done, after the delay with the first version. The first two BlackTape albums came out a year apart (86 + 87), and now it was looking like the release date would be two years after Mesmerized. The album came out in 1989 as the band’s first CD release.

The album changed dramatically from the first version you’re now hearing. I achieved what I set out to do: revamped the album into something that felt like Black Tape For A Blue Girl.


This first version of Ashes has never been heard by anyone but me. A fan (Randy!) asked for many years that I release it. In 2015, I sent the 1/4-inch 2-track mixes to my guy in Canada who did a super high-quality transfer to digital. It was quite expensive (thanks Patrons for paying for that!!) and only confirmed what I remembered: my mix was thin. And not very good in places. In my studio I went back to the cassette rough mixes and transferred them to digital. On some tracks, the roughs were better then the final mixes. What you hear is some of the finals and some of the roughs, and occasionally I blended in bits of the rough over the final, to bring back an instrument or effect I had removed.

As you can tell from that, I didn’t have a finished master of the album to work with; I reconstructed this from my notes and from digging through the cassettes. It was daunting, and at times tedious, and I’ve procrastinated for many a year. The 30th anniversary seems like a perfect reason to get this to you, at last.


Listening to this now, for the fourth day in a row, I don’t dislike the tracks as much as I did in 1988. I still know it’s not the record I wanted to release then, and I don’t regret my decision to rework it. As a sonic archeologist, I find it interesting to listen to this artifact, 30 years later. Ashes in the brittle air (the previously unreleased first version) flawed, but close to the way I heard it in 1988.

– Sam 1-6-2019