From Sam

People ask about the origin of the band name. This blog post answers that, kind of.

Origins of the band name

A writer from Canada contacted me about a book their doing: artists from the 80s explaining their band’s name. This was my reply:

I appreciate your message, but I prefer not to define my band’s name. I don’t want to limit the meaning of “Black Tape For A Blue Girl” to what it meant to me in a one-second moment back in 1986; that’s not really fair to the listener’s creativity. I’ve been avoiding the question for thirty-five years.

youTube & podcast interview

A wide-ranging interview from December 2021 with Jeff at Florida Sound Archive. I talk about the 1980s in Florida when I made the Alternative Rhythms fanzine, running Projekt Records for the last 30 years and of course Black Tape For A Blue Girl. It’s a fun interview with video version at Youtube & as a Podcast everywhere, links to all platforms. Spotify.

Orkus! Magazin.

There’s a Black Tape For A Blue Girl article and review in the Herbst•2021 issue of Germany’s ORKUS MAGAZINE. In Europe order the issue at the Orkus shop. Order the (signed) CD, MiniDisc, Cassette, Serpent shirt & preorder the LP at BlackTape’s Bandcamp shop, in Europe, order the CD & preorder the LP at The Projekt European webstore.

English translation of the review:

Black Tape for a Blue Girl: The Cleft Serpent
CD (Projekt)
Allure Anew
Aspects of themes that dwelled within their previous album To touch the milky way drive this new album; this makes it all the more fitting that an adaptation of the title track which formed the conclusion of the predecessor, found its way into the middle of The Cleft Serpent album. As much as the two characters, Serpent and Trickster, seem bound into a repetitive fate between pain and love, they still display a capacity for introspection. Black Tape for a Blue Girl are not bound or limited in their approach to music. Once again they display their multifacetedness with a unique sound full of character, which seamlessly befits the story’s emotions. Profound lyrics with graceful strings and expressive vocals are deeply moving and captivatingly elegant. The Cleft Serpent is simultaneously universal and personal. Powerful (“Ares & Hermes”) or seized by inevitable exhaustion (“So Tired of Our History”), the coherent sound always narrates with enthralling intensity. Fascinating from the first to the last note, The Cleft Serpent is a rich album that allows for more and more to be revealed and discovered on repeated listening!

Here is the article:

Release date is 3 days away

Black Tape For A Blue Girl: The Cleft Serpent

This Friday the new album will be available around the world on Spotify, youTube, Pandora, iTunes and everywhere you like to stream / download music. I’m shipping the CD, MiniDisc, Cassette & Shirt from the crypt out here in Portland Oregon. Signed copies* are available directly from me at our Bandcamp Page. LPs are on preOrder and I hope to ship December-ish. In Europe, save on postage by ordering the CDs from Projekt’s European Webstore. The CD is at Amazon as well.

Two of our classic CDs are now on sale for $8; the downloads are name-your-price! 1987’s Mesmerized by the sirens and 2004s Halo Star. If you missed out on these releases back in the day — or have the CD packed away in a box somewhere from that move two apartments ago — simplify your life with a new free download.

My interview is up at Post-Punk. I talk about The Cleft Serpent album, working with Jon and Henrik in the new band, and a bit about what’s coming up at Projekt. I’m also interviewed in the current issue of Germany’s Orkus (2021 #10 with Kat Von D on the cover), and one coming in the next issue of Germany’s Sonic Seducer.

When I was mixing the companion album, I thought the track “To touch the milky way (2021 version instrumental mix)” had the perfect feeling for the plague scene from Werner Herzog’s 1979 “Nosferatu the Vampyre.” I tried them out together, and wow it works nicely! Watch it at (I have to point out, for bonus points, that it looks like the word “Vlad” is there in the url!)

Follow me on Twitter and Instagram.

* Sorry, no signature on the cassette and MiniDisc. They are too petite to sign.

preOrder The Cleft Serpent

Hi. The Cleft Serpent and the instrumental companion album are on preOrder at our Bandcamp store, available on 2 CD, MiniDisc, Cassette, LP and Digital. Because of your enthusiasm for the Serpent MiniDisc, I’m making a Remnants of a deeper purity MiniDisc as well! I also received the Serpent shirt and a repressing of the Rope-face shirt. preOrders are shipping at different dates, based on when the formats arrive. CDs will ship to get to you (in the USA) by the the October 1st street date. Cassettes + Mini Discs ship in October. LPs around the end of the year.

Approximations of what the MiniDiscs should look like:

T-shirts in my living room:

The Cleft Serpent is an elegant, heartfelt and tragic torch song to humanity. The eight neoclassical tracks evoke a sense of worldly entanglement, taking the listener through a series of interconnected pieces charged with emotional honesty. It’s a dark and beautiful work from Black Tape For A Blue Girl.

Galaxy-swirl LP • 2 CD • Cassette • MiniDisc • Digital

preOrder at Bandcamp.

The Cleft Serpent: 8 days to go

Hi. It’s Sam from Black Tape For A Blue Girl. We’re just 8 days from the end of the crowdfunding campaign for The Cleft Serpent; it’s 63% funded. 182 people have contributed to make this possible. I’m creating 5 formats: LP, 2CD, Cassette, MiniDisc and Digital. It takes a lot of cash to manufacture all of that (and the additional perks backers receive), which is why I am asking for your support. The next week will spent on the hard work of connecting with fans of my music to raise the $5,500 that will push us over the goal. Donate if you can. If you can’t afford to, I get it. Spreading the word really helps as well (use #TheCleftSerpent so I can find and share your post.)

I enjoy this time during the crowdfunding campaign. I get out of my introspective space and interact with people from around the world. It’s not the ego strokes of your comments I like so much as knowing how my music intersects with your lives.

V.R. wrote me on Facebook: “I love the lyricism of your songs. Deep and beautiful. They beat in my soul.” J.S.E. wrote: “Just wanted to say that Remnants of a Deeper Purity is the first goth album I ever bought, as a 16 yo French girl in Paris. Time flies.” And C.G. from Mexico wrote: “I love!!! Black tape for a blue girl 😍😍😍😍 ”

The Cleft Serpent is an elegant, heartfelt and tragic torch song to humanity. The eight neoclassical tracks evoke a sense of worldly entanglement, taking the listener through a series of interconnected pieces charged with emotional honesty. It’s a dark and beautiful work from Black Tape For A Blue Girl.

I’m so happy with our new album. The music and story excites me, yet I’ll admit it is hard (as the artist) to write about the piece. Fortunately for me (and you!), I’ve connected with a fan who is an amazing writer. Below the fold, I’ve posted his album description that we’ve been working on back and forth the last few days. It really captures the spirit of the album, much better than my attempts to talk about it.

Here’s something I’ve been working on: I connected with a UK-based comic artist Andy Radbourne and asked if he’d create a page from an imaginary The Cleft Serpent graphic novel. This is Andy’s first sketch, showing an idea of the characters together. I will share more soon. Follow Andy’s work on Instagram:


Longtime fan Jeffrey’s impressions of the album:

The Cleft Serpent is an elegant, heartfelt and tragic torch song to humanity. Vast in scope and ambition, the album presents a mature and fascinating musing on love, death and desire. The eight neoclassical tracks evoke a sense of worldly entanglement, taking the listener through a series of interconnected pieces charged with emotional honesty. It’s a dark and beautiful work, the 13th album from Black Tape For A Blue Girl, and the first appearance of vocalist Jon DeRosa and cellist Henrik Meierkord, joining the electronics of songwriter Sam Rosenthal.

With the opening of The Cleft Serpent we are introduced to a world-weary, eternal, devil-like figure — almost a narrator, almost a protagonist — who shape-shifts across the album’s multiple eras and locales, guiding the listener through stories of loss, longing and doomed love into a deeply personal tale cast on an almost cosmic scale. Here we find a character who, far from the proud and defiant Lucifer we find in Milton and Blake, comprises a cursed figure, achingly self-aware, fated to inflict pain, yet weary of pain and destruction; an ageless soul regrets the repetition and endless flow of time, bound to the one he loves, yet driven to destroy. He is coldly unsympathetic to the weakness of humanity, yet fascinated by the tragic beauty of human life. Here we have a figure who seems to inhabit an endless and indifferent universe, who unpacks himself and lays himself bare with honesty and transpersonal insight as he struggles to come to terms with the destruction and darkness around him, much of it by his own hand. This figure is drawn out of his introspection and existential malaise by the gravitational forces of his bond to earthly passion and folly into a fractured, chaotic and ultimately disintegrating love story.

Throughout The Cleft Serpent, as we tour empty battlefields, ancient villas, modern Times Square, and underground crime scenes, all suffused with moments of passion and tragedy and inner turmoil, we come to know aspects of a turbulent and ill-fated relationship between the Serpent and the Trickster which form a major centerpiece of the work. Elements of this liaison seamlessly emerge and disappear like fragmented thoughts and half-forgotten memories. They could be different stories, they could be one story; at times it feels like the Serpent’s ardor for all of humanity is personified by this love between two men. In describing the contours of this complex relationship, the album offers an enlightened, and mature and thoroughly modern view of love and gender and sexuality in the 21st century. Here we are presented with friendship, devotion and affection between two self-described ‘punks’ and tricksters that recalls the chaotic love between the poets Rimbaud and Verlaine explored with a psychological depth and subtlety without comparison in the world of music today. We are talking about a band whose work has always celebrated sexuality and gender identities existing outside heteronormative structures, and here this shines brightly like a glimmering star in an otherwise bleak and lifeless sky.

The companionship appears and disappears throughout the album then breathlessly bursts out in a gripping, evocative finale, “I’m The One Who Loses,” a Tarantino-esque crime thriller narrative that has a lyrical beauty and intensity all its own. It is through this rare and beautiful entanglement, as all the fragments and all the threads come together, that we see the microcosm and the macrocosm of ideas presented by the album merge and collapse in the breathless and tragic final moments.

This album is drawn together by Jon DeRosa’s vocal performance. A smoky, grief-stricken voice possessing inner strength, full of hidden layers and turmoil. This performance captures the core of the album: a broken-hearted soul trying to come to terms with the pain and mystery of life. His vocals give the lyrics’ touching and ambitious philosophical explorations a sense of emotional honesty, gravity and self-awareness. Jon’s performance is operatic and soulful, crooning, and cabaret-inspired, almost a new dark musical theatre. This singular performance draws no easy comparisons; it is truly a beast unto itself.

Soundscapes constructed from Henrik Meierkord strings and Rosenthal’s flickering electronics awaken a vast sense of scale, of universal grandeur. The tracks are driven by a mournful and somber string performance that presents us a second voice or a character of its own. The cello-viola-violins have a yearning intensity and melodic sorrow that reflect back upon the characters of the story and seem bound within the orbit of their inner lives. The melodies appear and disappear like remnants of stories, glittering like sparks in the darkness. Within a light patina of Rosenthal’s electronics the soundscapes stretch out into infinity; sometimes a note will transform and take on a grand and spectral kind of beauty and intensity and scale. Never before has Black Tape For A Blue Girl’s strings and electronics been more beautifully and masterfully intertwined. The album’s complex and layered composition seductively draws the listener into itself, deep into serpent-like coils, inviting multiple explorations, unlocking a sense of interconnectedness and unity and purpose in its tapestry-like construction.

It is hard to find ready comparisons to Black Tape For A Blue Girl’s music. You are talking about a band with its own storied 35-year history to reflect back upon, a band with a profound and enduring influence on the world of gothic music. This is a band that can look into its own past, though through the years has never been afraid to adapt, and grow, and experiment, and explore new places and ideas while still managing to stay true to themselves. If you had to draw comparisons you could talk about the folk- and classical music- inspired gothic music of the 90s, you could talk about film scores, you could talk about dark cabaret music and chamber music. It is probably more accurate to talk about literary influences. The mind is drawn to the philosophical and metaphysical and transpersonal preoccupations of a late-period Burroughs, or the Decadent poets, or the Existentialists as a much better fit than trying to compare it to any music out there right now.

The Cleft Serpent presents listeners with a thoroughly original and thoughtful gothic torch song to humanity that embraces all the tragedy, heartache, loss and chaos of our lives. It is the perfect album for these times: just dark enough, just introspective enough, just emotional enough. Life, with all its longing, ennui and contradiction is narrowed down to the beautiful, touching and painful interaction of two flawed souls that alight in the scorched dreams of acceptance, transcendence and annihilation.


Jon DeRosa is a singer, songwriter, and musician. Since 1993 he’s released music across a variety of genres beginning with the minimal ambient-folk outfit Fade, and soon after the dark folk ensemble Dead Leaves Rising. DeRosa’s most prolific musical project is Aarktica, a guitar-based ambient ensemble of which he has been the sole permanent member since 1998. DeRosa will release new solo music in 2022, and he’s currently composing music for film.

Henrik Meierkord’s main instrument is the cello. Within his ambient music he experiments with neoclassical, indie, and kraut rock genres, working to assist the listener in finding their own emotion and setting for contemplation. He’s released four albums of his music, the most recent January 2021 :Kval on the Dutch Ambientologist label. For Meierkord, music serves as therapy and balsam for the soul.

Sam Rosenthal is the founder of Projekt Records and since 1986, the sole permanent member of Black Tape For A Blue Girl. Over the course of 13 albums as songwriter, band leader, and darkwave visionary, Rosenthal has guided the band through a variety of genres, all enveloped within a dark, contemplative lyricism.

Eight days to go. Please help support the creation of  The Cleft Serpent.

The Cleft Serpent

Sam says: “I’m running the Kickstarter crowdfunding campaign for our new album, The Cleft Serpent.
I’m just so happy with the way it turned out. Jon’s vocals and Henrik’s strings really captured what I was looking for — the mood is sensual and mysterious. Go over to the Kickstarter page, watch the video and make a pledge. Every contribution helps us to the goal; we have to reach $15,000 in order to make the album.

This record weaves the tale of the enigmatic Cleft Serpent, as we follow him through time and space within a lush, dark and romantic musical palette of string-hued Neo-Classicism. It’s rich and engaging; I love hearing Jon DeRosa’s powerful vocals and Henrik Meierkord’s mournful strings twined around my somber electronics.

We’ve imagined a world that truly exists outside of modern time.

The Cleft Serpent has lived many lives before, he is conflicted about living another lifetime aware of the pain he’s fated to inflict. His interaction with The Trickster propels the narrative forward.

I think it’s our best album yet — people who’ve heard it agree!

We’re already 29% of the way to the goal. Please lend your support

I’ve recorded the vocals for the final song on the new Black Tape For A Blue Girl album. And I have an idea for the cover. Progress.

Live in NYC 2009

Monday December 7 @ The Delancey in New York City, NY. In my studio closet I found two boxes filled with CDRs from the last 20 years. Audio. Photos. Video! I uploaded this five song show Black Tape For A Blue Girl performed for the 10 Neurotics record release party.

Give it a watch at youTube.

the dark moon (1986)

Hi. I’m recording the new (13th) BlackTape album with a cellist/violist from Sweden and a vocalist from Los Angeles. All remote. Nothing in person. It’s sounding amazing. It’s a concept album with a character that runs through all of the tracks; I still have to write the lyrics for one more song, I know what it should be about, just haven’t quite worked out how to fit it in. More on this new album soon.

I put some “new” archive music up for my patrons.
For $5 a month, you can listen to 31 exclusive albums, including:

About this exclusive: After The Rope, I planned the next Black Tape For A Blue Girl release as a vinyl EP called The Dark Moon (sometimes called The Dark Months). These late 1986 mixes were digitized from cassette to give you a flashback to that moment, 35 years ago. At this point I’d recorded with Sue (in my college’s audio lab) and also Walter’s guitars. I would record with Oscar the next time I went home to Florida. You’ll recognize these early mixes of pieces from 1987’s Mesmerized by the sirens; I hear that a few of my synth performances are different, early versions.

Sunwashed evening fire VIDEO

Hi all! In the last couple of days I edited a beautiful video for the first two tracks on my collaboration with Italy’s jarguna: Sunwashed evening fire. jarguna filmed the footage in China, Nepal, Madagascar & Democratic Republic of the Congo; I processed and edited it, creating the flow of this piece. Some of the footage (like the image above) reminds me of Werner Herzog — so intriguing. I watch youTube on my living room TV, it’s really a sight to see this piece on the big screen!

Give it a watch at youTube.

The Sunwashed evening fire album is available on CD and a name-your-price download through Monday. Fan Krylda writes, “This album is a gentle and flowing melodic ride through a series of natural soundscapes that will calm you, reinvigorate you, and send you on a sonic journey that gently glistens and flows around you. This sonic soundscape is unrushed and will reveal its many treasures as you ride though its tracks.”

Here’s a youTube video where Marco / jarguna talks about making incense.

I’ve been working on the new Black Tape For A Blue Girl album. Most of the music is written and recorded, now I’m contemplating the lyrics and theme. It’s a concept album with a consistent character running through all the tracks. That kind of album is always fun to do — also more challenging, figuring out the way to tie it all together.

Could you share this tweet or facebook post about the video. I’m so happy with it, I would love that people see it.

Thanks, stay safe,