black tape for a blue girl

live clips on youtube + 20% off downloads + projektfest'10

2010-07-14T13:20:00.000-07:00

Fans have been posting a lot of really great clips of us live on YouTube. The link above goes to "Remnants of a deeper purity" performed live in April. Athan does such a wonderful job on the song. Give it a watch!

Here are some others I found:
Knock Three Times: video at the Steampunk World's Fair with Brian Viglione.
Rotten Zurich Cafe: video
The Gravediggers: video 1 : video 2
Love of the Father: video 1 : video 2
Halo Star: video

Projekt Downloads are on sale this month at The FiXT Store.
Black Tape For A Blue Girl for 20% off!

Our next show is July 30 at the Projektfest in Philadelphia.

Projektfest'10 • Philadelphia @ The Trocadero • July 30
$10! All Ages. Just 16 days away!

Line-up: Voltaire, Black Tape For A Blue Girl, Unto Ashes,

The Twilight Garden & Nicki Jaine.

Side show performers, DJs, vendors + more!

Please help spread the word. Share our Event Page on your Facebook:

http://www.facebook.com/event.php?eid=112942992064486&ref=ts

Next show: Projektfest'10 July 30

2010-07-07T13:12:00.000-07:00

Hello everyone..... We had a marvelous time performing at the SteamPunk World's Fair a few months ago. All those people and all those outfits!

Sam, Athan, Nicki & Brian, May 15 2010. Photo by Althea Ann | Facebook photo album

The next show for Black Tape For A Blue Girl is the Projektfest in Philadelphia on Friday July 30. It will be the 4-piece line-up, including Brian Viglione. The show is at the Trocadero, and a lot of people have been sharing the info on their FB page, which I appreciate. I know people are driving from all around the Eastern Coast to see us. Yeah! This is going to be a great evening of entertainment. We've been lining up side show performers to give the evening a cool carnival-like feeling. Website or Facebook Event Page.

Tickets are just $10, and the show is All Ages. Also on the bill: Voltaire, Unto Ashes, The Twilight Garden & Nicki Jaine.

Please purchase your Projketfest ticket and join us in Philadelphia.

Aside from getting ready for the fest, I've been busy with the re-work of "Memory, Uncaring Friend" from The Rope which will be on next year's The Rope 25 -- the 25th anniversary 2-CD reissue. I recorded the drums at BC Studio with Brian Viglione. A few days later we laid in guitar and worked on the mix. And just yesterday, Athan put down some great vocals! I have to get back into the studio to do some editing, but it is blazing hot in there, so perhaps I will wait a few days. Still, it's sounding amazing!

- Sam

Marquis Magazine & Elegy Magazine & Projekttfest

2010-04-23T08:59:00.000-07:00

Projektfest'10 tickets are now on sale! See you in Philadelphia.

Hello. Two new European magazines out with Black Tape For A Blue Girl. You can read the pieces (in English) on the site: Marquis #48 and Elegy #62.

Another Italian Interview / Ithaca, Providence & Boston

2010-03-29T11:45:00.000-07:00

We've been busy busy the last few months, sorry for the lag time on the posing. We played another NYC show and our first Washington D.C. show in six years! We're on the road again in April. Back to Boston. Yes, we love it there.

A new interview is out in Italy's Darkroom-magazine.com. You can read it in Italian or in English.

I've been communicating with some fans in China, and discovered that not only are all our albums available in Pirate copies, but I am The #5 Most Beautiful Man in Rock, in China. XMusic, a legitimate Chinese music magazine with a 40,000 circulation is going to include "Sailor Boy" on their compilation CD. This is the weird thing about the digital age. You can have fans who own your records in places you never even released the album. I want copies of those bootlegs! They released Halo Star with a slip case. Fancy packaging, guys!!! Nicki wants to visit China, maybe this is our chance to see the chairman (And I don't mean Frank).

If you want to get regular updates about whatever crazy thing is in my head, you should become my friend on Facebook. That's where I do most of my networking.

And we have three shows coming up.

Fri April 9 ~ Ithaca NY @ The Haunt
702 Willow Ave. 14850. 607-275-3447. This is an All Ages show. 10pm Doors. Ego Likeness & Blacktape, times TBA. $7. thehaunt.com | Facebook Event

Sat April 10 ~ Providence, RI @ Club Hell
73 Richmond St. This is an early 18+ show, make note!! 7pm Doors. Spindle Shanks, Ego Likeness. Blacktape. Early show, times TBA. $10. Promoter Myspace | Facebook Event

Sun April 11 ~ Cambridge, MA @ The Middle East
472 Massachusetts Avenue (Upstairs). Dark Sky Productions presents: "Anderson Mar's Annual Birthday Bash." 7pm doors - 5 band bill. 18+ show. $10 in advance; $12 at the door. Band line-up: Sans Nomenclature, Lucretia's Daggers, Emmy Cerra, Black Tape for a Blue Girl, 1476. Middle East website | Show flyer | Facebook Event

There was an interview in Germany's Orkus magazine, I believe the November issue. I never received a copy, if you have the issue could you scan in the page with our piece?

"Halo Star (2010)" / Starting on "Tell Me You've Taken Another" video

2010-01-13T19:37:00.000-08:00

We received copies of Gothic Lifestyle #3, and wow! What a beautiful layout they put together, using the cover photo of the German Edition of 10 Neurotics. In The Mick #52 I talked about the cover: "The image we decided on has Narcissa in a submissive position, by the radiator in my living room. The person holding the CD is the voyeur, looking down on her." You can read the English version of the Gothic Lifestyle #3 interview here

Projekt's new Under the weight of light compilation is now available at projekt.com for $2.98. It includes two Black Tape For A Blue Girl songs, "Sailor Boy" plus the exclusive track, "Halo Star (2010)." Athan, Nicki & I have been performing this interpretation of our 2004 song in our live set; we went into the studio to get it "on tape" for all of you (Listen to MP3 clip). I set the dark mood with my harmonium (no synths on this one), Athan's melody is a variation on the original, and we constructed a dark ritualistic chorus that wasn't on the song back in '04. In retail stores February 2.

Last week, Athan, Brian & I shot the first scene for the "Tell Me You've Taken Another" video. This is the "band in rehearsal" scene. Frame grabs: View larger here.

Heavenly Vices -- The Mick#52 with 15 page interview!

2009-12-31T13:23:00.000-08:00

Hi All! A new 15 Page interview has been posted at MickMercer.com. Look below the three covers of the issues, select Take The Mick #52, right click, save as, etc. This interview was completed in the last couple of days, and is really the most in depth one I have done in years. Mick had a sort of in-your-face confrontational approach. Not afraid to speak his mind. I like that.

Q: I think this song puts the rest in the shade, and turns your concept on its head. When you strip everything away people are just fucking idiots, it isn’t that difficult. How do you feel?

A: Well, I am a "people" so I guess I feel like an idiot? (laughs). The thing is that the album is presenting a mixture of fetishistic interests and neurotic behavior. Sometimes both, sometimes more towards one end or the other. For me, the songs that bring the child into it ("Rotten Zurich," "I Strike" and "Father") provide the back story. "How did this happen?" Now, I am not judging the characters. They are like you or me, real people with all of our flaws. Personally, I don't think everyone is an idiot. Mom & Dad & Society gave each of us our own traumatic experiences; then we are thrown out in the world to try and cope with it.

I feel that some people turn to fetishes as a way to work through what they are dealt. They find an honest experience in it, as opposed to so much of life which is facade and show. I know some people who use aspects of the scene as a way to calm the neurosis, to keep it under control. And that is good, if people find a tool that is helpful for them. Many people have a dark and hard life.

Q: My family left me thinking I didn't want to have a family of my own, but beyond an emphatic decision I have never found it necessary to work anything out.

A: And my family left me just the opposite, really. I wanted to have my own family, so that I could do things "the right way." So that I could be a loving father and have a positive and meaningful relationship with my child. But Mick, seriously, we ALL have things that need to be worked out. Nobody achieves awareness without work at it.

Q: Is the album confessional in some ways? A lot of you in there from the sub-conscious up?

A: Well, it's not sub-conscious, because I brought it to the surface to talk about it. Confessional? In so far as some of these are my story, yes, of course.

#2 on Subculture Shock Radio Show Top-10

2009-12-24T06:02:00.000-08:00

One of the great radio shows that supported 10 Neurotics this year is Subculture Shock on WNRN Charlottesville, VA. We were voted #2 (by listeners) in the 2009 year end poll.

#2 Black Tape For A Blue Girl - Tell Me You've Taken Another from 10 Neurotics.
See the full list on facebook. Listen to a podcast of the show.

Listen to the podcast of Athan & Sam interviewed on Subculture Shock.

Report from NYC show, New German interviews, upcoming Dracula's Ball

2009-12-17T05:00:00.000-08:00

Listen to the podcast of Athan & Sam interviewed on WNRN's Subculture Shock Radio Show.

There are so many new things to report since the last blog. Let me start with our show at The Delancey, on December 7th.

This was the "release party" for 10 Neurotics, a bit later than we expected to hold it.... but certainly worth the wait. Athan, Nicki and I were joined by Brian Viglione on guitar, his first live appearance with the band. We did a four song set wirth "Tell Me You've Taken Another," "Rotten Zurich Cafe," "Love of the Father" and "Sailor Boy." It was a free show on New York City's Lower East Side and the room was packed. My idea was to create a place to meet, hang out, talk and hear some music. My hopes were realized; it was great to see so many fans and friends in one place. Elysabeth Grant was there, charming as ever; too bad there wasn't more time to talk. I shot some video of the show - I am hoping to edit it with fan footage for youtube. You can see a snipped of video I shot of Andoid Lust's "Stained" on youTube. It was cool looking over and seeing Brian on guitar, deepening the sound. When it came to the intro of "Sailor Boy" I really had to get that piano bit right, Brian played it on the album and I would be let down if I muffed his part in front of him! : ) Brian sang the higher backing vocals on the chorus of "Tell Me You've Taken Another," which added a great extra element to that one...

We have two shows in January. The big one is Dracula's Ball in Philadelphia, PA, on Saturday, January 16, 2010. Facebook event page. The night before, we perform at the Istanbul Cafe in Pittsburgh, PA, We have never played a DracBall, that should be extra exciting.

I did a lot of European interviews for the 10 Neurotics album, which have been slowly coming out. The most recent two are from Germany and I have posted the text here on the Blacktape site for English speakers.

Black Magazine
Read the full full September 29 interview.

Gothic Lifestyle #3
Read the October 4 interview in English.

Gothic Lifestyle #3 comes with a CD which includes
our track "Sailor Boy." It is in German and you can
purchase it here.

Black Tape For A Blue Girl & Katzenjammer in Liar Society Top-15

He’s taken to it like a duck to water sports.... I love a review that makes ya laugh! : ) Read it and post your comments.

A Dutch review of 10 Neurotics is on the front page here.

I have an email interview with England's Mick Mercer to work on this weekend. What is the best way to deal with it? Every question seems to be: "Your new songs suck, and your lyrics REALLY suck. Explain." : ) I will come up with something entertaining.

"Sailor Boy" (live video) | "Tell Me" on KROQ | Free NYC show 12/7

2009-11-19T09:11:00.000-08:00

I uploaded a live video excerpt from our show at the Cantab Lounge in Cambridge, MA. Thanks to Jesse Nicole for the footage (you can see an album of her photos here). I took the "Sailor Boy" footage into my software and processed the contrast and added a nice colorization. You can watch the "Sailor Boy" video on Youtube.

Black Tape For A Blue Girl on Rodney on the Roq
Yes! Our track "Tell Me You've Taken Another" was played this week on Rodney's show in Los Angeles. If you listen to KROQ, could you call in and request more Black Tape For A Blue Girl. And especially if you listen to Rodney's show on Monday Night.

And don't forget our free NYC show:
Mon Dec 7th ~ The Delancey in New York, NY
168 Delancey st. 212-254-9920. This will be a FREE SHOW / release party. With The Dresden Dolls' Brian Viglione sitting in with Black Tape For A Blue Girl. Special acoustic guest appearance by Android Lust. Narcissa - from "The Pleasure in the Pain" video - will be there. Celebrate the release of 10 Neurotics with fellow fans of Projekt and Black Tape For A Blue Girl. We'll be there to hang out and also play some songs off the new album. This is going to be lots of fun, and it's FREE! Doors at 8:00. DJ Ian Fford will be spinning, dancing, etc. Black Tape will be on at 9:30. Venue Website or
.

Gothic Beauty, German 10 Neurotics, Sticker, Back from New England

2009-11-10T13:00:00.000-08:00

We are back from our New England shows in Cambridge MA, Portland ME, & West Warwick RI. It was a wonderful time and we have some great new friends and memorable moments. Going on the road with a new band is a chance to perform new material, and also a chance to see if you get along or if you want to throw somebody off the island. Fortunately, Athan, Nicki & I are a pretty good match. We had fun, ate some good food, and didn't want to kill each other. Win! At the same time, Gothic Beauty Magazine #29 is out with a two page interview. The German edition of 10 Neurotics (on Trisol) is in stock at Projekt. We also have a new sticker for you!

You can read the full Gothic Beauty interview, here.
Q: After 20 years of not having a drummer in Black Tape for a Blue Girl, you said this album "demanded a rock-n-roll drummer." What do you feel necessitated that decision?

Sam: The songs have an urgency and power that is best realized with a drummer kicking it along. On the last few albums Michael Laird played percussion; but 10 Neurotics is conceptualized within a more traditional rock sound. I asked Brian Viglione to be involved. I knew he would understand my ideas of "this part needs to be subtle and washy, and this part needs to be powerful and driving." On a song like, "Sailor Boy," he gets to do both within one song! Working with Brian was fantastic, because I might have a vague idea of what I was looking for, and he would come in to the studio with a fantastic arrangement that often worked perfectly right away. On a few songs we tried something, but then listening to it for a few weeks we would decide a different approach was needed. The way the drums smash in on "Love of the Father" was the 2nd idea, and it propells the song in such an emotional way. Brian's like a brother in sound, for me. He gets where I am coming from and he has great ideas to add to my songs. His involvement is definitely more integral to the sound, than has been the case with past musicians in my band.

Black Tape for a Blue Girl two interviews + New England mini-tour

2009-10-20T09:59:00.000-07:00

Ascension Magazine Italy
Autumn 2009
Read the full July 22 interview in English. here

Sonic Seducer Germany
October 2009
Read the full August 24 interview in English. here

Thursday November 5th ~ The Cantab Lounge in Cambridge, MA
(Downstairs) 738 Massachusetts Avenue, 617-354-2685. $10. 21+ Venue Website & Dark Sky Productions myspace page. With: MELT, Dreamchild & Faebotica. Facebook event page.

Friday November 6th ~ Plague in Portland, ME
at The Asylum, 121 Center Street. 9-1am. 21+. Only $4 - free before 9:30 !!!! With DJ Dehuman8.
Facebook event page.

Saturday November 7th ~ Blazes Billiards in West Warwick, RI
1229 Main St. (401) 615-7677. $8. With DJ Matthew Griffin, Spindle Shanks, The Dirge Carolerss & Dorian James and The Brood. Facebook event page.

Black Tape For A Blue Girl on the new Sonic Seducer CD

2009-10-12T10:47:00.000-07:00

The October 2009 issue of Germany's Sonic Seducer Magazine comes with a cover-mount CD that includes our track "Tell Me You've Taken Another." You can read the full interview, in English, here.

05. Black Tape For A Blue Girl „ Tell Me You’ve Taken Another“
Die 10 neurotischen Hymnen, wohl einem ganz bösen Mädchen gewidmet, erzählen von den unterschiedlichsten beziehungstechnischen Frauenkrankheiten. Wer kennt das nicht! Untermalt von Gast-Vokalisten Athan, Laurie & Nicki ist dieses Kunstwerk ein wahres Spiel aus Enttäuschungen, makaberem Fetisch und manischer Depression. Wer inneren Frust verarbeiten will, wird garantiert nicht enttäuscht.

10 Neurotics poster is now at the printer

2009-10-07T10:00:00.000-07:00

Click for larger image

Yes, I know, I know. Procrastination doesn't pay off, and now I am late on the poster. But I have finally gotten it together and it is at he printer. I kept it PG rated, for the clubs and stores that will be hanging it. Would you like a copy of the 10 Neurotics poster? It is not yet on sale, but you can add your name to the list at the Projekt.com store and we will email you as soon as we have them.

We have shows coming up in early November. Cambridge Mass is confirmed for Thurs Nov 5. Three more shows to be announced any day!

And, finally, I have been having fun communication with some of you on my facebook page, concerning my rants about Illegal Downloads. Add your comments.

The Pleasure in the Pain Video

2009-09-16T05:54:00.000-07:00

When I went to college for TV/film, I used to make video art pieces to go along with my music. It was 20 years ago when I directed my last video. Over the years, I often thought about making them for Black Tape For A Blue Girl; but I always had other things distracting me from it. No More! "The Pleasure in the Pain" is the first video for 10 Neurotics, and I plan to make more in the coming months. Let me tell you, I am so thrilled with the way this turned out.

"The Pleasure in the Pain" stars vocalist Athan Maroulis, model Narcissa and myself. As a director, I went for a somewhat dreamy but literal interpretation of the lyrics in the song. "I realize I’m absolutely yours, immobilized, you touch my neck as you draw your arm back. I’m waiting that way, excited like a schoolboy, humiliated by my convictions." Athan's character drifts through memories of the D/s relationship, wherein the two lovers were doing the things that got them off. And the conflict? Where is she? Will she come back? What is she doing now? You find out in the 2nd half of the piece.

Believe it or not, we did this shoot with no crew at all! Narcissa did her make-up, brought the props and had ideas on the interaction. Athan provided suggestions for staging and to do a lot of it lip synch. I conceived the story, did the camera work and the editing. Oh, and the lighting, built the chair, dressed the set, ran the playback and generally over-thought everything. But we wanted to make our first video in 20 years a jaw-dropping stunner. I hope you will agree that we succeeded!

Brian says it should win the "Creepiest video on MTV" award. ; )

If you are in NYC, visit Narcissa's photo exhibit at Madame X, 94 West Houston Street. The reception is Thursday Sept 17. Free. 21+.

"The Pleasure in the Pain" from 10 Neurotics Projekt Records (US) & Trisol Records (EU).

The Video | Actors: Athan Maroulis, Narcissa & Sam Rosenthal. Conceived, directed & edited by Sam. Additional inspiration, staging and suggestions by Narcissa and Athan. Thanks to Edin Velez for storyline suggestions. © 2009 Sam Rosenthal.

The Song | Words & Music : Sam / Melody : Athan & Sam / Sam : guitar, bass & moog / Brian : drums / Athan : vocals

The Gear | Filmed with a Canon 5D Mark ii using a EF 85mm f/1.8 USM lense. Edited with Sony Vegas PRO 9.0 on a 2.93 Ghz Intel Core 2 Duo iMac, running Boot Camp. Uploaded as a 1280 x 720 .wmv - 4.8 Mbps HD.

Please post your comments on the youtube page. Sam

Free "Sailor Boy" MP3 at Amazon.com

2009-09-03T07:09:00.000-07:00

We put a lot of love and passion into the creation of 10 Neurotics, and I am pleased the CD is making its way to the fans. You are giving me great feeback. It is always a risk to try something new, so reading your enthusiasm is really encouraging.

Trisol Records is releasing the album in Europe. Alex asked me to create a "more provocative" cover for Europe, it is the image in the middle on the left. You can see all the artwork with links to the photographers and the models: 10neurotics.com.

I have been busy doing interviews for Euopean magazines. So far I have "talked" with Orkus, Zillo, Sonic Seducer, Ascension and Elegy. When the issues are out, I will post the original English version on the website, here. It has been interesting to talk about the album. I think the thing that comes across to me is that even though the lyrics are about all of these erotic/extreme experiences, the theme boils down to: follow your desire.

To kick things off, we are giving away a free MP3 of "Sailor Boy" in conjunction with our friends at Amazon. You can grab the track here.

Back From Our Show in Boston
We had a blast! I was joined on stage by new band members Athan Maroulis and Nicki Jaine (in the photo, above a few more at this flckr page). Our set was the premiere of new songs from 10 Neurotics, "Militärhymne," "Tell Me You've Taken Another," "Love of the Father," "Rotten Zurich Cafe," and "Sailor Boy." It was exciting to play the guitar. Performing "Love of the Father" with no backing tracks was a great new experience, and it came off wonderfully. I am talking with a promoter in Boston about a return engagement (with the full set) in a few months. More news soon.

Autographed copy of 10 Neurotics available from Newbury Comics

2009-08-31T12:34:00.000-07:00

C L I C K :

The best Art is always dangerous. "Black Tape for a Blue Girl albums tend to be heavily themed, and this one is no exception. The theme? Sex. Passion. Desire. And some of the dark and weird and wonderful places they can take you." Nice fan blog/review: expandingtheproscenium.blogspot.com

Three songs from 10 Neurotics in the mySpace player

2009-08-23T11:09:00.000-07:00

I just uploaded three songs to our player at mySpace: "Sailor Boy," "Inch Worm," and "Rotten Zurich Cafe." You get to hear all three of the vocalists on 10 Neurotics, Athan, Laurie & Nicki.

Tuesday, August 25 is the digital release for 10 Neurotics. It is available at Amazon.com, itunes, eMusic and elsewhere. Ringtones are available from myxer.com, the explicit songs can only be seen by registered users who have taken off the explicit content filter.

The European digital release will be a bit later. Germany's Trisol Records is releasing 10 Neurotics for Europe and I hear their digital company has been a bit swamped. It will be up soon. The Trisol edition will have a different cover from the American edition; see both and the inside pages and links to the models and photographers, here.

I have been startlingly busy the last two weeks. Rehearsing for the Boston show, figuring out the offer for the Mexico City show, doing interviews for Ascension, Zillo and Gothic Beauty. On Friday, I shot the final scene for "The Pleasure in the Pain" video, and I am editing this weekend. Nicki is finishing up her West Coast shows with Jill Tracy. Behind the scenes, I have been setting up promotions with our distributor (see the Newbury comics signed booklet promotion), planning more interviews, sending out cds to Clubs and DJs and taking care of the hundreds of other things that are involved in releasing an album. It's all worth it! I have received some really wonderful responses from fans who have heard the music. You make all the effort worthwhile. Thanks so much for your love!

Brian told me a fan came up to him at the World/Inferno show in Bristol, England, with a copy of 10 Neurotics to get his autograph. Wow! That's dedication. ; )

Live in Boston, August 27 at The Regent Theater
7 Medford Street, Arlington, Massachusetts 02474
Cost: $12.00 adv./$15.00 door
A night of Grand Guignol excess. The evening begins with an opening set of dark cello ambience by Wisteriax. Next up will be a 4-song set from Black Tape for a Blue Girl; Athan, Nicki and Sam premiere new songs from 10 Neurotics. Following on will be the carnival delights that are Walter Sickert and the Army of Broken Toys. Dreamchild will play the final set of the evening, celebrating the release of Sleeping Flowers Severed, Scream of Slaughter.

Halloween - Blacktape in Mexico City
This show is not confirmed, yet, But it is looking pretty positive.
Hopefully more details when we are back from Boston

We're looking at locations for a New York Release party around the September 22 street date. More on that, soon.

Sam

10 Neurotics now available ahead of street date from Projekt

2009-07-27T09:17:00.000-07:00

10 Neurotics has arrived at Projekt, and they look amazing! It's still almost two months until the retail street date, but I am excited for you to hear it now! We are taking orders at Projekt, and shipping immediately. If you want me to sign your copy, leave a note in the comment area of the cart when you order.
Thanks so much. Sam

on Twitter !

2009-07-24T08:46:00.001-07:00

10 Neurotics album mock-up

2009-07-06T05:29:00.000-07:00

10 Neurotics is at the pressing plant. After all these months of writing about the album, it is very exciting to know it is closer and closer to reality. These are photos I shot of the mock-up they sent me.

The mock-up is made by the pressing plant so I can proof their work and make sure they configured the package as I designed it: a 4-panel digi-pak with 28-page glued-in booklet. With matte varnish, and no barcode. Yes, I love the object!

Because of the nudity, I actually had a really difficult time finding a pressing plant in America who would take this job. We live in a land of prudes. If it was violence and people with their heads chopped off nobody would blink an eye at printing it. But a nude body! Aghast!!!! [ Ok. I get one plant's reasoning. They do work for Disney and Disney has a no nudity rule. They don't want one of my booklets accidentally inserted in a Little Mermaid CD] ; )

Retail release date is September 22. The digital version will be on sale August 25th. We will have them at Projekt.com before that. Update on availability soon. Sam

Athan: Sailor Boy & Tell Me You've Taken Another

2009-06-12T12:07:00.000-07:00

In many bands, the singer is also the songwriter & lyricist. Where they go, the band goes. Black Tape For A Blue Girl is different in that over the years I have had a number of male vocalists help me bring my vision to life. Oscar Herrera was the band's original vocalist, singing on the first seven releases over the first 12 years. After his departure from Blacktape, I enlisted two male vocalists for 2002's The Scavenger Bride , Athan Maroulis & Bret Helm.

( Image of Athan by Sam Rosenthal )

Sailor Boy / Tell Me You've Taken Another
final mix.

In 2003, when I began work on Halo Star, I knew I was writing an album that would be more male vocalist oriented; I wanted one singer to help focus the material. Athan & I had a conversation one cold morning about who I should work with on Halo Star. At that point, he wasn't eager to tour, which presented a problem. I knew I was going on the road for the album. I decided to give Bret the expanded male vocal duties, and we created great work together.

However for reasons to be explained in a future blog, in late 2008 it was time to recruit a new band for 10 Neurotics. Athan & I had remained good friends; over a Thai meal, we discussed the possibility of him joining the band as my male vocalist. We decided to go for it.

Let me step back for a moment. Athan and I have known each other since the mid-90s; we both lived in Los Angeles and would occasionally bump into each other at a club called Helter Skelter. He was the vocalist for L.A.-based Spahn Ranch, singing on their 5 full-length albums as well as completing more than a dozen North American and European tours. Prior to SR he sang in Fahrenheit 451, Executive Slacks & Tubalcain (I'll admit that it was hearing some of Athan's Tubalcain tracks on mySpace that convinced me he might be the guy to bring my songs to life as I imagined). I moved to Chicago and then to New York, and when Athan returned to his native NYC from Los Angeles, we would occasionally get together and hang out.

When Athan came into the band (again) last year, a majority of the songs were written and Brian Viglione's drums were laid down for about half of them. The first song Athan & I worked on was "Sailor Boy." [As I said at the very top, in most bands the singer handles the lyrical/melodic songwriting side of the music. Athan did it for his other bands, Laurie did it for High Blue Star. It's different in my band. in Black Tape For A Blue GIrl, I'm the director. I'm the one who has the whole concept spinning 'round in my head. I write the songs, words & melodies, and provide my singers with a recorded guide of me performing the words the way I envision them. I'll admit this is non-traditional, but it has worked for me.]

That first day, it didn't take long in the studio for Athan to have "Sailor Boy" recorded. I knew he was a good choice! Athan brings his own personality and touch to the song, while respecting the intention with which I imagined it. In "Sailor Boy," Athan's high-spirited performance portrays a Russian-syntaxed sailor with a mistaken understanding of the nature of his relationship -- who is the master and who is the slave?

In creating an album like this (with characters telling their stories), the manner in which the lyrics are delivered is very important. There are millions of ways a line could be sung, a whole host of motivations for the character and their actions. We often discuss the words as if it's a film, with me explaining the characters and their motivations so the vocalists can fully get into the song.

"Love of the Father" is a good example. I knew that for the song to work, the 3rd verse needed to be powerful, though I wasn't totally clear on the exact manner in which to deliver it. We got the melody and placement of the words down relatively quickly, but the question was how to capture the right emotional performance. As I was explaining the back story (a boy who was abused and how this led to his distrust of god and his Dad), the word "vulnerable" came up. And that's exactly right! The singer is a boy at that point. He would possess a 7-year-old's set of defenses; he wouldn't be equipped with the matured, protective shell of an adult. Athan took out some of the certainty and assertiveness in his voice, put in a bit of a ragged falseto, and there we are: the boy comes to life, with his vulnerabilities open for all to see. I knew the line "Then he smacks me ‘cross the face; ears ringin’, angels singin’ 'he loves you' but I know he doesn’t mean it" had to be delivered JUST RIGHT to give the song its power and to finish out the album with the emotion a finale demands. That 3rd verse gives me chills; Athan captured it perfectly. My heart breaks a little bit, each time I hear it.

When we were recording "Tell Me You've Taken Another," Athan perceived the story as about a guy who is cheated on by his wife. I was surprised by that interpretation, "Oh no! Not at all! This guy WANTS his wife to be with other men. It's what gets him off." The character is not supposed to be pathetic, oppressed, destroyed. He's living it up. He's elegiastic. Yes, the line is "Do you know this joy of being betrayed, and left like a dog!" But that is excitement & savage passion in his voice. I totally get why one wouldn't expect this sort of motivation in a song; yet that's kind of the point on 10 Neurotics: to bring ideas to light that one wouldn't usually feel comfortable admitting.

Another song Athan sang was "The Pleasure and the Pain." It's the most rock-oriented song on the album. This was one of two early songs that I was blocked on, regarding lyrics (the other developed into "Curious, Yet Ashamed"). I decided to try a different approach for "Pleasure;" I asked Athan to create a melody for the song, we recorded that, and then I used the melody & words to help me write lyrics. Most of Athan's melody remains; his "Waiting for that train" became "Waiting for the pain." I was going for a delivery somewhere between T-Rex, Bauhaus & Alice Cooper. Once again, Athan's versatility nailed it; giving the song the balls needed to propel the lyrics. The story is about a guy who has broken up with a woman who humiliates and controls him. This is what he wanted, those are the things he desires. Even though she has left, he knows he'll be right back at her side when she returns and calls his name. "I’m waiting that way, excited like a schoolboy, humiliated by my convictions." The vocals turned out angsty, yet aggressive, perfect! We're going to shoot a video for this one. That should be fun.

Athan mentioned a few days ago, "You don't have much room to hide with these lyrics." They are right out there, totally exposed. Fetishes, desires & passion for all to see. There's a line from "In Dystopia" that I feel is the motto for this album: "I no longer can deny my desire."

Surround yourself with professionals and then let them shine! That's the way I feel about working with Athan and Laurie and Brian on this album. I am filled with anticipation for the release of 10 Neurotics, so you can hear what we've been up to, and hear how Athan has integrated himself into the songs and the band.

Sam

(What do you think? Your comments are appreciated)

Marmalade Cat video

2009-06-09T11:59:00.001-07:00

I uploaded a short video for "Marmalade Cat" to my youTube page. I must admit that this new song is more ethereal than the majority of the tracks on 10 Neurotics, but this is too cute to wait on! I let a bit of video roll, while I was shooting images for the 10 Neurotics booklet; I used this footage as a test -- more videos to come in the months ahead.

"Marmalade Cat" is about a woman who finds comfort in her second skin of marmalade fur. I think we can all relate to a song about somebody who wishes they'd just be left alone so they can live their life as they choose. Amen, brother! ; -)

MARMALADE CAT.
Words & Music : Sam | Inspiration & lyric suggestions : Margaret Middleton | Sam : guitar & electronics | Brian Viglione : bass | Laurie Reade : vocals Goddess Narcissa : model & stylist.
Please post your comments on the YouTube page.

Sam

It has some low end, but I'm not so worried about rattling the car doors

2009-05-28T08:48:00.000-07:00

In April, when I was in Chicago mastering 10 Neurotics, I did a video interview about various aspects of the process. The first segment is up. It claims to be about the Waves L1 Compression plug-in, but that was an excuse to ramble about recording and mixing.

The interviewer is Patrick Ogl, who you might remember from my first "other band" Thanatos. Patrick sings on This Lush Garden Within, and sold me the guitar that I used to write 10 Neurotics. Somebody suggests I'm a dufus in the comment area. Feel free to post your comments on the Gearwire page; defend my honor! ;-) You can see it here.

preview postcard for 10 Neurotics

2009-04-13T03:02:00.000-07:00

I have just returned from Arizona, where I was working on "post-production vocal treatments" with Steve Roach. That's right! The music for 10 Neurotics is all recorded and now I am up to the final mix and mastering. Simultaneously, I am working on the cover. Collecting images I want to use, and trying out different layout ideas. On the postcard above, you see the redacted version of the cover, almost acceptable for children of all ages....

If you would like to get 20 postcards to pass out, email maven@projekt.NOSPAM.com with your mailing address and "10 Neurotics card" as your subject.

New MP3 - three songs featuring Laurie

2009-03-25T08:43:00.000-07:00

Today's blog is about recording with my new vocalist, Laurie Reade. First a bit of set up....

You might have a fantasy of how a band works. The story goes that musicians are people who sleep till 3 pm (after a night of partying), stumble out of bed and decide, "Hey, let's go and record something." Yeah, it's a nice fantasy, but reality is different.

( Image of Laurie by Sam Rosenthal )

Inch Worm / Marmalade Cat / Caught by a Stranger
almost final mix.

Most of us have day jobs, and we wake up at 6:45 am like the rest of the world (often with a kid banging us upside the head asking if he can play on the computer). Sigh. Myth dispelled. I am luckier than most, because my day job is running the Projekt record label. Yes, I get into work very early, but I can take the day off and make music if I feel like it.

Usually, I go into the studio nights and weekends. In the spring and summer of 2008 (early in the recording of 10 Neurotics) I would only go in every couple of weeks to start a new song or work on something that was half-complete. However, since December - when recording really switched into high gear and I started working with Brian Viglione - music has taken up every minute of my non-work / non-dad time. I mean seriously! Yesterday, Brian and I worked 11 hours on rough mixes for the album, some of which are excerpted into the MP3 you are listening to.

Generally, I work with my vocalists during the last third of the recording process. By that time, I have lived with the songs for a while and have refined my lyrics to express exactly what I want to say. I get together with Athan or Nicki to record vocals on a song and then it is a week or two before I get into the studio again to lay down more vocals.

That is different when a vocalist comes in from out of town. Then it's like a working vacation. We spend all day in the studio, getting amazing stuff down. This is when it's more like the scenario in the opening paragraph. We get to be full-time musicians!

10 Neurotics actually has three female vocalists. "I strike you down" was recorded with Elysabeth Grant for Projekt200; recently I revamped the music to fit the sound of this album. Nicki Jaine (who joined the band for the Halo Star tour and who I collaborate with on the side project Revue Noir) sings two songs. I wrote "Rotten Zurich Cafe" on Xmas Eve and recorded Nicki's vocals within two weeks. It is rare that a song comes together that fast.

And then there's Black tape for a blue girl's new female vocalist, Laurie Reade.

Attentive Projekt fans know Laurie as the former U.S. vocalist for Attrition. She toured America from 2004 through 2008 with the band, impressing fans in over 50 cities with her beautiful interpretations of Martin's operatic female vocals. She often performed with her own band High Blue Star (now defunct) as the opening act. Laurie and I met in January 2005 when Attrition camped out in my living room for a few days while on tour. Sasha was two and a half then, and he took to calling all the people in the living room "Martin" - the real Martin, the other guy named Martin and the female Martin - I dubbed the band "the Martins" (it seemed to make sense to us!)

Whenever I caught Attrition's show, I was impressed with Laurie's vocals. But, ya know, I already had a vocalist.

[In a future blog I will detail why the following sentence is true:] Fast forward to mid-2008 and I realize I did not have any vocalists. I had to find me some new ones! Laurie was the first female singer to come to mind. While ability is the #1 criteria for a band member, a very close #2 is compatibility. I really don't want any drama in my band. I don't want trouble. I want to have fun and make music. That's something I realized on the Halo Star tour. Some people are lots of fun. Some people are, shall I say, less fun (my mom always told me "be diplomatic.").

I invited Laurie to audition. I sent her the live backing tracks for "All my lovers;" a few weeks later Laurie emailed a demo of her singing the song. "That sounds like my band!" I said to myself, enthusiastically. Things were moving along. Next up was trying out some of the new material.

The original plan was to do two separate sessions for 10 Neurotics. But family logstics prevented Laurie from making the first trip. Instead we decided to do all the recording in one session. That sounded like a bit of a challenge, having never worked together in the studio. What if we didn't get what I was looking for? It would be sort of late to find a new NEW vocalist! We always got along well at shows and festivals where both our bands were performing, I knew she was a good singer, I knew the songs were strong. So, why not go for it?

Laurie came to record vocals on four songs ("Inch Worm," "The Perfect Pervert," "Marmalade Cat" & "Love Song") plus another song without lyrics ("Caught by a Stranger") which we ended up writing in the studio. She also sang backing vocals on "Sailor Boy," "Tell Me You've Taken Another" and "Curious, Yet Ashamed." Wow! That's a lot of work for two and a half days! But it was really great work!

I think there's something you will notice when you hear this album. In the past, the female vocal styling have been consistent. In a certain sense, even though the songs told stories, stylistically the vocals were written to blend from album to album. This is not a knock on the great vocalists I have worked with; they always performed stunningly. This time I wanted to do something different.

When you listen to these songs, you hear the different characters. Here are the lyrics in the MP3 excerpts:

INCH WORM
Well, I showed them, yes they now see, they see less of me each day.
I proudly give the finger to the jackass who found it easy to walk away.
I now look great by the pool, in bed, when I'm waiting for the bus -
watch me blow away, that’s it, that’s it! I'm light as a feather, I wanna fly away.

Inch worm, inch worm - always measuring
Seems to me you’d stop and see how beautiful you are.
How beautiful you are.

MARMALADE CAT
My second skin is a marmalade cat.
I feel at home as a marmalade cat.
I’m big and fat, an old lazy boy. I’m sleepin’ in the sun.
So, why do they fear what makes me feel at home?

CAUGHT BY A STRANGER
Oh, my love.
Nervous but unafraid.
I want our bodies on display.
The hunger in their gazes.
And we'll feel the world fall away.

Laurie captures exactly what I was looking for in these songs. If you saw her with Attrition, you know about her full operatic soprano and striking stage presence. But that wasn't all I wanted for this album. 10 Neurotics is an album of first-person narratives, and I wrote each song with a particular character in mind. "Inch Worm" is from the perspective of a young anorexic. "Marmalade Cat" is about a woman who feels more like herself when she dresses like a cat (Yiff! Furry alert!), and the woman in "Caught by a Stranger" is an exhibitionist. The idea was that each song had its own personality. Delivering them all in the same voice would not have made sense. Laurie GOT what I had in mind! It shows the diversity of her talents.

Sam

(What do you think? Your comments are most welcome. )

Love of the Father - the lyrical process

2009-02-26T05:39:00.000-08:00

My new friend Dita emailed, "I would love to hear more about your internal process. How it comes to fruition and shapes your visions and sounds. Where it speaks from."

Tough question, because the artistic process is happening all the time, I don't stop to think about it or question it. But let me stop and try.

( Image by SOPHIA VALKOVA | myspace page Model: N)

Love of the Father nearly final version 1
These are Athan's final vocals.
They do not have the final reverb or levels, yet.

There are many different themes I am weaving together in 10 Neurotics . The album was born within people I have met. Getting to know them, growing to love them, trying to figure them out. We are all interesting people, each with quirks and endearing fetishes. I feel like a novelist with very amazing characters walking up to me (ok, maybe they don't just WALK UP. I have gone and searched them out!). I wanted to capture these people, poeticize them and make their stories into universal ideas we can relate to.

One of the themes I have brought into the lyrics deals with the child that grows up to be the adult with the neurosis. As a father, I see how easy it is to consciously (or unconsciously) fuck-up your kid's life, psyche, future. We are all damaged by what happened in our childhood. I felt that presenting the children brings an interesting "balance" to the stories. To not only say, "look what I am!" but to throw in "and this is where it came from."

This week, I recorded Athan Maroulis' vocals on the song "Love of the Father." It's one of my favorites of all the songs I have written. It's amazingly powerful.

It began with something one of my son's friend's said. This boy was about six. While playing in my dining room he said, "I hate God, 'cause they tell me he loves me." I had to stop and write it down, it was so startling. I was wondering what makes a boy hate god and he followed it up with "I can't touch him like the cat sitting there on the chair. He doesn't exist. It's not true." I took that bit of reality and started extrapolating it into a storyline about a boy who doesn't trust god; and he doesn't trust his daddy, because even though the dad says "I love you" his inability to be loving tells the boy he doesn't mean it. The boy feels he is unworthy of love. The verses are the boy speaking. In the chrous, he is an adult addressing the results of his feelings of detatchment and unworthiness. This hurt, damaged child is now a man saying, "I face my obliteration, I haven't died yet. I drown myself with sex, I live to forget."

A few months later, I was in Florida, waiting for my sister to pick me up from the tri-rail (after visiting with my violinist, Vicki Richards). Even though all the lyrics had been written, I was thinking about "Love of the Father." I started getting ideas of a way to make it even richer. I had to grab a sheet of paper out of my bag and write the ideas down, before they were lost in the tropical heat. It's not just that the boy's dad is incapable of loving, but he is abusing the boy. To try to make sense of it, the boy interprets the violence via religious imagery. This made the story even more disturbing.

I reject god 'cause they say He will save me.
I can't touch him like the toys on my bed, use your magic to save me !
Then he smacks me 'cross the face; ears ringing, angels singing:
"he loves you" and I know he doesn't mean it.

The time shifts in the lyrics, between the perspective of the boy and the man makes the song confusing; it's often unclear who is telling the story. Is the adult still concerned with his dad's lack of affection? Is the boy having sex to try to find love?

I guess we are both people, really. We're the adult who exists in this world and takes care of our adult life and responsibilities, but at the same time we're the injuries and disappointments of our youth (and entire life), shaping, influencing and fucking-up our existence today.

I set out to create an album that looks at our sexuality, obsessions and fetishes with a mature (rather than sensationalized) eye. Our life is a constant churning of sexual desires; sometimes overtaking us - more often subverted, submerged & repressed. Wherein other albums I have written hint at sexuality, this time I wanted to directly confront reality: Who we are when the disguise is stripped away.

As always, I would love to hear your comments and thoughts.

Sam

The artist's dilemma - Tell me, working version #2 (With MP3)

2009-02-06T06:33:00.000-08:00

On Tuesday, I was back at Martin's BC studio, recording drums for three more songs on 10 Neurotics. I've mentioned earlier that Brian Viglione (The Dresden Dolls & WORLD/INFERNO) has joined my band and is working with me on this album. As things have progressed he's turned into more of a collaborator then I've ever had before in Black tape for a blue girl. At Martin's, we got amazing stuff "on tape," and I got myself a dilemma.

( Image by Paul Trapani | trapaniphoto.com Model: Vivian DeMilo)

Tell Me You've Taken Another working version 2
These are my guide vocals, they will be replaced by real vocals. Some people are missing this point. I am NOT singing this on the album, these vocals are just there so the vocalist can learn the melody.

I'm having stereotypical artist-neurosis about "Tell me you've taken another." It's one of those "be careful of what you wish for" scenarios. I wanted to take my dirgy song (originally written in 1998 for the As one aflame laid bare by desire album) and turn it into a song that would feel at home on 10 Neurotics. Lyrically, it's a perfect fit - it's a song about a guy with a special fetish/neurosis (this guy enjoys being cuckolded), but the dirge was out of place. In my mind's eye, I saw that within that slow, moody piece (that Oscar sang wonderfully) was a song, waiting to come out. (You can hear an earlier work-in-progress MP3 of this song, here) I felt that within this source material existed a more accessible song, if only I teased it out of it's hiding place.

What I've ended up with is exactly what I set out to create, but I'm frightened. Very frightened. Like Dr. Frankenstein when he realizes the creature is alive.

I've played the track for friends and fellow musicians and they're all really excited about what they hear. They feel it cuts a new path for Black tape for a blue girl, taking one of my songs into a sonic terrain that I don't often tread upon. And what's wrong with that? What's wrong with a song that has a hook and a groove? I mean, there's NOTHING WRONG with that.... but is it me?

I was recording yesterday with Gregor Kitzis, Voltaire's violinist. He created a really lovely three part violin harmony on the waltzy chorus of "Rotten Zurich Cafe," a Blacktape song I wrote for Nicki Jaine's voice. After recording, we were listening to rough mixes of tracks from the album, and it occurred to me that most of these pieces are outside of the traditional Black tape for a blue girl box.... and why not? This is my 10th album, I think I've already made my point that I can create moody, emotional, soundscapes. The idea for 10 Neurotics is to go about it in a new way, in a more song-oriented way.

Brian smacked me upside the head in an email today, reminding me of things I've forgotten about the direction of the album, my need to trust in my own vision, not to be afraid of the new, and that a track that is catchy is actually a GOOD thing.

Brian Viglione wrote: "There's nothing wrong with having a beat that you can move to on an album, especially if you're trying to do something new. The LYRICS are what makes the song interesting and moody! You have to give them some more credit! You're ignoring your own words!! You already have the waltzes, dirges, stomps, and heavy drum stuff on there. So give them something to groove to. You're right it doesn't sound like most Black Tape songs. GOOD! Spread you wings a little for fuck sake and don't be afraid to show more musical sides of yourself! It's healthy!"

Are artists afraid to come in from the cold. To get off the well-beaten path of the outsider?

(What do you think?)

In the studio - Tell me you've taken another, working version #1

2009-01-19T09:55:00.000-08:00

"Tell me you've taken another" is a song I recorded for Black tape for a blue girl's 1999 album, As one aflame laid bare by desire. On the first third of the MP3, you can hear the original version. It's a dirge featuring a horn synth-patch, flute, occasional drum machine percussion, and Oscar's emotional vocals. Lyrically, it was influenced by Sacher-Masoch's Venus In Furs (this guy enjoys being cuckolded).

Lyrically, the song fits right in with the new pieces I am writing for 10 Neurotics: "Tell me" is a first-person narrative about a particular fetish that gets this character off. In the last few months, I have thought about rearranging this song to fit the mood of the new album -- in other words, recreating it as a guitar & drum based piece with a song-oriented structure. Ok, so that is the theory, the question is how to do it?

Brian & I were in my studio yesterday hashing out ideas on how to turn it into a "pop song" (I say that tounge in cheek, as nothing I write is really all that pop). After much discussion and thinking and a bit of reorganizing, we figured it out. What you hear on the rest of the MP3 is a segment of our scratch track with Brian's guitar, my guide vocals and a guide flute part (everything you hear will be replaced in the coming weeks). Wow, there you are! A new version of "Tell me you've taken another" which retains the passion and themes but reworks it into our current sound.

This process is something I really enjoyed when we performed Halo Star live. The thing I realize is the recorded version of a song is not THE SONG. It is merely one way of capturing it. The same lyrics, chord changes, and mood can re-exist in a new interpretation. Being a studio project first (and a live band second) my brain locks in on the way a song existed when it was created. There's something very rewarding and exciting to me when the song evolves into a new form. It's watching a kid grow up, or realizing "hey, even under that dense, dark soundscape, there is a SONG just waiting to burst out!"

In this case, taking a song that stylistically was perfect for Aflame - but out of place on 10N - and turning it into something that fits the current incarnation of the band. I am really psyched by this new version that Brian & I came up with. Progress. Progress. Progress.

- Sam

Sam

Black tape for a blue girl : In the studio - Sailor Boy, working version #1

2009-01-07T11:34:00.000-08:00

Hi. This blog is the first installment in an ongoing series of "Black tape for a blue girl : In the studio" blogs. The idea is to bring you into the creative process of 10 Neurotics, our upcoming album. A few days ago I was brainstorming with Shea at Projekt and we hit upon the idea of letting you hear the songs in progress as they go from sketches to finished pieces. It seems like an interesting opportunity for you to peek in on my creative process.

(I am noticing that this blog quickly heads onto tangents, so if you are in a hurry, when you see [SKIP] feel free to jump ahead one paragraph).

In the last six weeks, the percentage of my time spent in the studio has drastically increased. I am thinking about music all the time.

[SKIP] Let me set the scene. I am sitting in my apartment in Gowanus, Brooklyn. It's a lovely apartment, all 400 square feet of it! And it's a 2 bedroom... two teeny tiny bedrooms! I am at the dining room table which doubles as my computer desk, drinking a Leffe (my friends Barb & Dave recently introduced me to this wonderful Belgian creation!) and streaming my fave internet radio station SomaFm Drone Zone. I just walked home from my studio which is three minutes away. That was the main reason I picked this apartment, walking distance to the studio! I was over there NOT working on Black tape for a blue girl, but preparing a new As Lonely As Dave Bowman track that might appear on a fundraiser CD for WWUH's Ambience program. [end SKIP]

In the studio tonight, I prepared the first file for IN THE STUDIO. The song is named "Sailor Boy" and this MP3 is of the June 21st 2008 mix of the song. Keep in mind that this is NOT the final version. It is a file of the song in progress: a snapshot in the process of the creation of the song. Those are NOT the final vocals, either. Those are my guide vocals. The MP3 is a one-minute segment snipped from the mix, an edit from the first couple of verses and the first half of the break.

I render MP3s of the songs in progress so I can take them home and listen to them, work on lyrics, send off to friends, etc. I was about to write "Sailor Boy was one of the first tracks started for the album," but I wanted to confirm that. When I looked at the old Vegas sessions (I record in the software Sonic Foundry's Vegas), I uncovered the following start dates on the oldest tracks of the album:

"In Dystopia" February 2007
"I Strike You Down" March 2007
"Inch Worm" April 2007
"Marmalade Cat" January 27, 2008
"Sailor Boy" February 24, 2008

This means that "Sailor Boy" is actually the 5th oldest song. There are currently 16 tracks I am working on, so it puts it in the first third.

[SKIP] Here's a brief rundown on the other early start date tracks. I created "In Dystopia" when I was putting together Revue Noir's Anthology Archive. The song originated in 2005, when Nicki was at my studio and we recorded a take of her strumming through a song she had been working on. It remained dormant & almost forgotten for years. When I was searching the computer for archival material for AA, I found the .wav file with a name like "Nicki guitar thing." I took the editing scalpel to the file and created the sequence and flow of the final track. After much consideration, I decided NOT to write vocals for it nor include it on the AA album -- because I wanted to be an archivist and stick to the material Revue Noir actually created and performed during its lifespan. The lyrics for "In Dystopia" evolved over time; we'll save that for a future blog when I discuss lyrics. I am recording Nicki singing the song this weekend.

"I Strike You Down" is a song I created for the Projekt200 compilation. It was sung by Elysabeth and is very sparse, musically. I am talking with Brian about ways to revamp it to fit into 10 Neurotics, as the version on Projekt200 is not stylistically apropo to the 10N sound. "Inch Worm" is the song that has been tormenting me for ages. I see that it's been 21 months!!! I began the song on the keyboards as a stylistic follow-up to "Knock Three Times," yet it has long been my goal to down-play my electronics and turn it into an acoustic-based song. I recently achieved this goal with considerable head scratching, brute force and mental willpower.

"Marmalade Cat" is the first song I wrote on the guitar - a cute pean to an even cuter furry friend. (Oh, wait.... actually.... the first song I wrote on the guitar was back in 1989 during the recording of Ashes in the brittle air, a song called (I think) "The sound of waves," which Loren sang. It didn't make it onto the album, but I am thinking of one day putting it up at iTunes as there is an "alternate version" of the entire Ashes album, with a number of unreleased songs on it). [end SKIP]

And then you have "Sailor Boy." "Sailor Boy" was the second song I wrote on the acoustic guitar for 10 Neurotics.

"Sailor Boy" started, as all my songs do, with me playing around, trying some notes together and seeing what sounds pleasing to my ears. I detuned some of the strings to make an interesting chord and started a picking pattern in 3, giving it that waltzy/sailor sound. I created the first 45 seconds of the song, but then I sort of hit a wall. A few days later my friend Ken came over, and he played some guitar parts that overlaid my tracks, and that pushed the song along. Then I wrote the break section which is where this MP3 fades out.

[SKIP] Now, why is this song called "Sailor Boy?" Well..... it just feels like a sailing song to me! There are certain songs I have written, which open up an oceanic feeling in my mind. "One last breath" is one of them.... "With my sorrows" is another. I feel that the watery mood of those songs led to the lyrics I wrote for them. Unlike other musicians, I don't come up with words & melody first. I come up with the chord changes and pretty much record the entire song (at least all of my parts) before I get a feeling for the mood and start with the words. [end SKIP]

And what are the words?

On the MP3 you hear my guide vocals. I am not singing the song on the album. They are there to give the vocalists the melody, and get the structure of the song together. Here are the lyrics from the MP3:

As lover, I'm shit. She's always known it.
She craves confusion, I aid her delusion.
the sailor boy, her sailor boy.
(I snipped six lines out of the MP3 here)
I chose when I hurt her, I chose when she smiles.
There's annihilation here, the love I defile.
la bah da bahbah da bah bahda bahhhhh
bah bah da bahbah bah bah bahda bah....
I lose my need for her, lose my feelings.
Lose myself in this puddle of drugs.

The funny thing is those "bahs" in there. I was emailing with Simone from Italy's Spiritual Front in June, and he asked to hear my idea for the song. One morning, I laid in these guide vocals really quick so I could send the file to him. I wasn't pleased with the lyrics I had been writing for those two lines; for the guide, I tossed in a melody real quick with "bah bah's" instead of words.

EVERY person who subsequently heard the song said "I love those Bah da bahbah's! You have to leave them in!" Ok! I figured my friends were crazy! ;-) My friend Edin said the same thing when he heard it, and that afternoon - when Brian and I were discussing the song in the studio - he also said, "Man, you gotta keep those in there!" I figured if every person liked them, there must be something going on that I was missing.

Creativity really involves a lot of chance, random events and mistakes! I was missing it because of the intention with which I laid them in there, rather than the end result of what I had done. "So," I said to myself, "why not give it a go and use those Bahs?"

To me, they didn't make sense in the middle of a verse, so in the next version of the file, you will see that I moved them to the end. Suddenly, they became the deranged rantings of the overbearing, self-possessed sailor boy as he stumbled around in his puddle of drugs!

In future MP3s, you'll hear how they become the chorus and gain significance in the song.

[SKIP] The interesting thing about "Sailor Boy," and other songs on 10N, is that they have grown over time. I will admit that in the past, most of the songs came out of my head in a burst of spontaneity. I recorded them, and they harden quickly into their final form, like plaster. In the old days, this was due to recording on porta-studio and then 1/2" 8-track. I never rehearsed a song before recording, like I did with Nicki in Revue Noir. With these new songs, they have grown over time evolving into better songs. That's exciting for me! And I think it makes for better music for you.

Ok. I just stopped and checked my inbox and there's a message from Nicki saying she likes the mix of "Rotten Zurich Cafe," the newest song on the album. Laurie got the email with an MP3 of the guide vocals for a new track. Brian received the CD-R of new songs we're working on in the studio next week. Fun. Fun. See! I told you I've got music on the brain over here! [end SKIP]

Next installment of this blog will be uploaded in a week or so. In it, Brian suggests some tweaks to the structure of "Sailor Boy," and we add his drums at Martin's studio.

Sam

Studio update | recording with Brian Viglione

2008-12-23T12:34:00.000-08:00

I was in the studio most of last week, working on the new album, 10 Neurotics. Two days were spent recording drum kit and percussion with new band member, Brian Viglione (The Dresden Dolls, WORLD/INFERNO). On Saturday we listening and mixed, on Sunday I got a handle on the track "Inch Worm" which has been attempting to get away from me for many many month. Brian and I made a lot of progress on these songs, giving them an aurally lush environment and shape that pushes them beyond the initial versions I started with. I am really excited about these songs! They feel alive, visceral, and immediate. They are more acoustic and traditional in structure then what I have written in the past; definitely less swirly and ambient, but with the same dark moods, chord changes and sonic sensitivity that you expect. Black tape for a blue girl, sounds like a "band" rather than a "soundscape."

As I have mentioned, I started playing acoustic guitar this year and I wrote most of the songs on it, add live percussion and it's amazing what happens. Brian's creativity, spontaneity & enthusiasm is a great addition to these tracks and the band. There's really no song on my previous albums, that is an apt comparison for the new ones; think "Knock Three Times" and "Remnants of a deeper purity," but with more complexity structurally, yet sometimes a bit more minimal sound. I've been listening to a lot of neo-folk and suicide pop and Marc Almond ! ;-)

We recorded at Martin Bisi's BC Studio here in Gowanus (picture above from the Bisi website). Wow! This is the place Sonic Youth recorded Evol (one of my favorite albums); The Dresden Dolls, Swans, John Zorn, White Zombie, Cop Shoot Cop, Foetus and many other indie artists created their albums at BC. Martin's loving dedication to the music was wonderful. It is great to work with such an experienced engineer in a studio with all that history; what we came away with greatly enhanced the album.

Lyrically, 10 Neurotics is intense & personal stuff about people I have met, dated or created since my divorce a few years ago. All of the songs are written in the 1st person, giving three-dimensional life to these non-traditional people with endearing fetishes / obsessions. Perhaps they are metaphorical stories of relationship dynamics, yet they are derived from real life experiences. Either way I feel I have created engaging characters that are hard to shy away from. I am reminded of songs such as "Tell me you've taken another" (off As one aflame laid bare by desire) and "All my lovers" (off The Scavenger Bride) in that they deal directly with sexuality, fetishes, passion & emotions. Titles include: "Inch Worm/Light as a Feather," "Marmalade Cat," "Love of the Father," "The Perfect Pervert" & "Sailor Boy."

I am writing a few more songs at the moment; and will be recording vocals next month. I will soon have new music for you to listen to.

Sam

I'm a broken record, with a faulty memory !

2008-09-08T08:56:00.000-07:00

I made a note to myself last weekend, to think about uploading the 1991 Blacktape compilation, A teardrop left behind (released on Hyperium), to iTunes. I grabbed a copy off the shelf just now and put it in the computer; I was wondering how the track "seireeenien lumoama" differs from the version on Mesmerized by the sirens. Ah, ok. It's an extended version I created by replicating the tracks and leaving the vocals off the first portion.... I did that when I was in college, in the school's crummy music room..... Then I started playing other tracks on the CD. I listened to "the turbulence and the torment" and thought "Hmm, those lyrics are good. I think I'll put them up on Blacktape's myspace page." So I opened the old quark file for the booklet of This lush garden within, to cut and paste the text. Staring at me was the story "forbidden," a song I recorded during lush garden, but eventually excluded from the album (it's on the CD-EP that came with my first book, The first pain to linger, which is now up at iTunes, by the way). And I thought "Oh my!!! I am a broken record!" This story is so much like what I have been working on for my book.... here it is:

forbidden
cast down. cast down upon broken shells of crystal dream. bruised and destroyed. defiled and abandoned. banish you from the world and cure you to death. cast you from the realm of perfection and throw you upon the scraps. overlooking hope and possibility lost. curse you and blame you and shake accusation upon your nude ruined form and light the pyre and ignite the wrath and dictate despair which casts you down upon the broken shell of the crystal night. despise you, despise you with their harsh pain glare laughing at your broken scrap of meat and spit you out and scrape your flesh with rusty blades and leave you to die at my feet, unable to kneel down and save you or pray to the cruel god who defiles you. unable to save you or pray to my cruel god who averts his gaze as you die.

The main character in my book is a 24 year old woman in an Eastern European city. It is set in 1920. The story is told from her perspective:

I like this. I like the intense stares, the eyes absorbing me, the crowd devouring me. My thoughts brought to existence through the power of my words. The feeling of living fully in a momentary reality where I am completely alive. All senses alert to their fullest. My words drawing breath, painting scenes, exposing my inner truths to the crowd. The audience before me grows as I speak. They pour in from the other rooms and from the street; they stop talking, focused. We breathe in collective gasps. We rise and fall on the oceanic waves of my words. The laughter, the shock, the horror . . . All felt by my design. The wounds, torn open. Exposing fear and hope. Desire and desperation. Exposing what once seemed like logic and courage to the microscopic scrutiny of self-discovery. As I speak, I razor off each successive layer of shit and facade in search of something once pure still lurking beneath. A thousand dreams, beliefs and lies left in bloody heaps around the room. A seared ember remains at the center, shouting and screaming and whispering truth.

Is there anything left of me? I have been divided, broken, destroyed. annihilated. I have torn these thirty minutes from my soul. And I just do not care what you think! I am crushed by the pressure of this transition from one existence to another. I taste my tears, I smell my sweat. I have no idea who is holding me as you all gather closer for your final look. Take your final mouthful of the tasty meat that has been slaughtered and served-up for your gluttonous enjoyment. The soft moist tasty treat. Are you satisfied, yet? How much more of me do you need? I imagine men and women alike stripping me naked amongst the crowd and raping me one by one. And stabbing me and killing me, and leaving me in a pool of my own vomit and blood for the cafe’s midget mop-boy to defile when the doors have been locked and the constable has gone home. You want to fuckin’ devour me!

My soul tarnished and dirty, perhaps even more so from your greasy hands temporarily holding it. Admiring it. Desiring it. You feast upon me briefly, draw me to my full height, then watch me deflate and smother and drown before you. All of this by my own design. My own masochistic design. If I were to die by all your hands, you would be absolved of guilt. You were forced to commit the act. Forced to mete out the fitting punishment for these revelations. The punishment which I deserve. I deserve the worst. For my ongoing betrayal. Betrayal of my own beliefs.

Well, I'm not sure if that 100% captures the similarity... but you'll see!! After 17 years, It appears I'm still working with similar issues and concepts; certainly the book explores a LOT more. It's really amazing how much I can explore in a book, vs. an album; how indepth I can go. Did I mention I've been working on this book since late 2002! Almost 1/2 of the lyrics for Halo Star were arranged and edited from things I wrote for the book.

At the moment, it is called Entwined in your nurturing arms; I cannot say it will still be called that next month! : ) It was called Damn Swan! for years, but that's not right, either.

I'm estimating the book - whatever it is named - will be out in early 2009.

(I have to do the brief advertisement now, mute your remote if you must...!) Out now is A Retrospective, the Black tape for a blue girl "Best of" from Russia. Also available is a digital-only ep called The Pleasures Everlasting, with cover versions of Dead Can Dance & Sonic Youth tracks. And of course ANTHOLOGY ARCHIVE from Revue Noir. Visit projekt.com to order. If you read my 25th Anniversary editorial (here, at Myspace), you'll know that we need every one of your orders!

If you have comments, please post them, and I'll reply.
I'll answer them, and/or include them next time....

Sam