REVIEWS

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Black Tape For a Blue Girl
Halo Star

Projekt Records

Posted: Tuesday, March 21, 2006
By: Ilker Yucel
Editor

Black Tape For a Blue Girl is not so much a band but rather a musical collective, not unlike KMFDM or Pigface in the industrial scene. Like those bands, there is a ringleader, a visionary guide who acts as a conduit or catalyst for these various musicians to come together and make something outside of their individual projects; in this case, that ringleader is Sam Rosenthal. Like any collective, such a variety of people can bring about a variety in the music, culminating in a sound that is as diverse as it is unified. There are different genres and different styles at work, but they all come together to form a single group sound that is identifiable and unique. One would like to believe that Black Tape For a Blue Girl has found this sound. However, after almost 18 years and with an extensive discography behind them, one could easily accuse Rosenthal and company of repeating themselves. Their latest offering, Halo Star does have some qualities to distinguish it from past albums. At the same time, it does little to actually sound like anything all its own. This can cause disappointment for people waiting for something groundbreaking to come from Black Tape, while longtime fans who are accustomed and familiar to the style they've established will find it comforting. Plus ce change, plus ce méme chose (the more things change, the more they stay the same). No statement could be truer when listening to Halo Star. For any other band, this might be a detriment, but Black Tape play on their formula very well.

What is different this time around? Audra's Bret Helm has a much more significant role than he did on the previous album, The Scavenger Bride. As a result, Elysabeth Grant has stepped back to allow Helm's voice to shine. Indeed, the two vocalists provide an excellent contrast to each other, with Grant's sensuous vocals complementing Helm's Peter Murphy-esque baritone (especially pleasant to hear on "Indefinable, Yet"). Also different is an abundance of acoustic guitar and tribal, almost Middle-Eastern percussion a la Michael Laird of Unto Ashes. From the short instrumental opener, "Glow" to the urgent and almost painful "Tarnished" and "Scarecrow," Laird's guitar and percussion provide an eerie and ethnic atmosphere that makes Halo Star sound like a gothic harem. Rosenthal's electronics are minimal as always, atmospheric and ambient, but also adding to the Middle-Eastern flavor with an electric violin sound on "Glow" and "Dagger" that is reminiscent of Shankar's double-violin (you might've heard him on Peter Gabriel's Passion soundtrack for Scorcese's The Last Temptation of Christ). Always present is Lisa Feuer as the cover model and flutist, once again reminding people that she is the face of Black Tape. Also returning is Vicki Richards on violin. Her presence on "The Fourth Footstep" and "Dagger" do allow these songs to sound like something off Remnants of a Deeper Purity; that is not to say her playing is not welcome or beautiful to hear, just adding to the consensus that Black Tape are not above repeating themselves.

Halo Star, with the presence of Laird and Helm, does retain its own flavor, separate from past Black Tape albums. Yet, the sound is instantly recognizable and formulaic. There is no distinctive verse-chorus arrangement at work, as there never has been with Black Tape. There is classical warmth created by the juxtaposition of Rosenthal's electronics and Feuer's flute and Richards' violin. No, Halo Star does not provide any radical change of direction or sound for Black Tape, but fans of the band never seem to let this bother them. With that in mind, Halo Star is a pleasant listen, as much beautiful as it is sad. Just don't expect any surprises, and you'll find this as enjoyable as anything else by Black Tape For a Blue Girl.