- ashes in the brittle air
- across a thousand blades
- the touch and the darkness
- through sky blue rooms
- the scar of a poet
- you tangle within me
- from the tightrope
- am i so deceived
- is it love that dare not be?
- i ran to you
- i wish you could smile
This is the page for the original 1989 edition of Black tape for a blue girl’s 3rd album.
2020: There is a 30th anniversary edition of Ashes in the brittle air. 2CD or clear vinyl LP
Bursting forth like a lucid dream, this release unearths powerful connections to deeper truths. Sue-Kenny’s folk approach and Oscar’s intense voice guide the way through Sam’s tales of existential personal introspection.
“One of the most caring musical treasures to come along in quite some time. Don’t pass up the chance to experience it.” – JUST MUSIC.
“This is hurting, romantic lament. Herrera’s vocals suddenly ram me with image-brimming, griping vacancy of the precariously desperate soul hangingbeneath hope by a frayed thread.” – ALTERNATIVE PRESS.
“We’re talking deep European existential despair here, the fevered outpouring of a tortured soul.” – OPTION.
“This release is an interesting artsy excursion into subtle electronics by this three piece band. Musically, it’s a little hard to characterize. The songs are full of Nietzsche-influenced, depressing lyrics that are wrapped in surprisingly melodic and engaging experimental music. File this one under odd, but interesting.” -RELIX.
“As we postmodernists shuffle off our mortal coil, our demise will undoubtedly be scored to one of the many 4AD releases that have defined bad-mood music in the late 80′s. Until now, we’ve had to import our choler and phelgm from that fine English label, but Black Tape for A Blue Girl do a reasonable approximation of the 4AD vibe around the corner in Garden Grove. Their third release comes complete with Sue Kenny-Smith’s British vocals and acoustic guitar, Sam Rosenthal’s euphonious electronics, and obscurantist lyrics that tell tales of misconnection and emotional impotence. The homages to Breathless and Dead Can Dance are unavoidable but managed skillfully. This is languid, lucid music that suffers only from the inevitable comparison to those who went before, and its own intellectual heaviness, evident in quotes from Nietzsche and song titles such as “The Scar of A Poet.” This album does a neat disappearing trick, too, opening with the most powerful and complex songs, and working its way down to omnious ambient keyboards and wistful folk melodies. Black Tape doesn’t need to lighten up, but rather to thicken up. Their entropy is infectious.” – LA WEEKLY
“A new location brings a new release from writer and electronics wizard Sam Rosenthal and his roving band. Formed in Cooper City, Florida in the late 1985, this is primarily a trio that also includes vocalists Sue-Kenny Smith and Oscar Herrera. Herrera’s vocals remind one of early English Gothic bands, while Smith, an Englishwoman, transports the listener into a realm of existential, ethereal, and ambient musings… somewhat lost and free at the same time. This music is an acquired taste, resembling a lot of the material found on Britain’s 4AD label. But for those of you who like a philosophical slant to their music, and for those who enjoy rich tapestries and aural textures, this third release from Black Tape For a Blue Girl represents their best work to date.” – THE INDEPENDENT NETWORK
Sam reflects: “Recorded in late 1987 and early 1988, black tape for a blue girl’s third album was actually the first CD release on Projekt (all previous releases were on vinyl or cassette). The album was recorded at my house in Garden Grove, and in a studio in Miami (for Oscar’s vocals) and a studio in England (for Sue’s vocals), making it the farthest reaching black tape album to date.”