Customer Reviews

The Scavenger Bride

5 star:		(21)
4 star:		(10)
3 star:		(3)
2 star:		(2)
1 star:		(8)

 

 

"The Scavenger Bride" is BTFABG's most concise album in recent years. The songs are as slow and melancholy as ever, but there are no twenty-minute epics. The storyline centers on a tragic, fragile woman imprisoned by the jealousy of several suitors in 1913 Prague. The metaphor is explained in track 10, "The Scavenger's Daughter" as read by Attrition's Martin Bowes. It's horrifying to think that there likely was such a device.

Several tracks float in and out on a wave of minor chords entwined. The lineup features some cool guest appearances (Unto Ashes' Michael Laird, Audra's Bret Helm, Spahn Ranch's Athan Maroulis, and Bowes.) Though I miss Julianna Towns' voice, Elysabeth Grant sounds great. Sam skips the vocals and sticks to a fairly menacing wall of synth. Vicki Richards and Julia Kent take a subdued approach with the cello and violin. Lisa Feuer's flute is as appealing as on the last album. Incidentally, what the hell's wrong with another Lisa Feuer photo shoot? She doesn't have a fist growing out of her head or anything.

The vocal layering gets overwrought here and there, but it fits. The mood wouldn't be nearly as strong if Black Tape betrayed any humor in their music. The Bride is stuck in a bad situation; I was rooting for her when she finally got a moment of freedom in "Shadow of a Doubt." It's like the really nice, cute girl who dates a bunch of jerks because she's too nice to seek her own happiness.

If you like Black Tape, this is a good chapter. If not, heed the warning so you don't have to buy the album and post a one-star gripe.

Upon purchasing black for a blue girl's new album, I was unsure to expect. I had liked what I had heard in the MP3 previews and was entranced by earlier work, but I know that a concept album was a tricky thing to accomplish artfully. All my fears were put to rest as soon as I held The Scavenger Bride in my hands. I was not able to listen to it right away, so, as is my custom, I acquainted myself with the lyrics and story, lost myself in the narrative of the bride's undoing and emotional renewal. (It was then that I realized why lyrics for the new songs were not posted online...it would just not have made proper sense if one had not obtained the whole CD.) The most interesting thing about the album was that pieces of the tale were printed alongside and within songs, pieces of the tale that weren't necessarily in the song, but were there to accompany the other lyrics, the music or move along the allegory. This made listening to the album for a first time like tasting sweets blindfolded...I know it would please, but I wasn't sure in what way or what flavour would come next.
The mix of purely instrumental and then pieces with vocals was lovely...many of the purely musical pieces do not needs words at all, the notes have a language all their own. I don't like to play favourites, as the entire album is wonderful, but I do have songs I am particularly fond of. "kinski" I adored when I first heard it, and actually owning it on CD was also a joy. "shadow of a doubt" reminded me of a soliloquy in a theatre performance, the desperation of Elysabeth's vocals plucking every heart-string. "bastille day, 1961" was also exceptionally beautiful, brooding and regretful in a way that haunted the listener for hours afterwards. The piano solos in several songs add a dramatic and theatre-like quality to many of the tracks. (But all the songs have a great deal of strength, especially the ones available for previewing on MP3.com.)
Even just looking at this album ascetically, it was exceptional. Being an artist and a photographer, I appreciated the care and obvious work put into the photos and overall presentation. Sam and Elysabeth, as always, look stunning and yet very human. The poems are beautifully written and the story can be taken literally or metaphorically (I prefer the latter), with a great deal of meaning to be taken away.
It never ceases to amaze me how much staying power black tape for a blue girl has. In all these years, in 8 albums, they manage to keep me entranced and in wonder of their talent, in all aspects, musically of course, but also lyrically (reads like poetry) and artistically (I'm sure I could learn a thing or two from Sam and Lisa in terms of design and photography.)
Keep up the good work, black tape, as you carry the flag very well and give the overall ""Gothic"" genre a good name.

Upon purchasing black for a blue girl's new album, I was unsure to expect. I had liked what I had heard in the MP3 previews and was entranced by earlier work, but I know that a concept album was a tricky thing to accomplish artfully. All my fears were put to rest as soon as I held The Scavenger Bride in my hands. I was not able to listen to it right away, so, as is my custom, I acquainted myself with the lyrics and story, lost myself in the narrative of the bride's undoing and emotional renewal. (It was then that I realized why lyrics for the new songs were not posted online...it would just not have made proper sense if one had not obtained the whole CD.) The most interesting thing about the album was that pieces of the tale were printed alongside and within songs, pieces of the tale that weren't necessarily in the song, but were there to accompany the other lyrics, the music or move along the allegory. This made listening to the album for a first time like tasting sweets blindfolded...I know it would please, but I wasn't sure in what way or what flavour would come next.
The mix of purely instrumental and then pieces with vocals was lovely...many of the purely musical pieces do not needs words at all, the notes have a language all their own. I don't like to play favourites, as the entire album is wonderful, but I do have songs I am particularly fond of. "kinski" I adored when I first heard it, and actually owning it on CD was also a joy. "shadow of a doubt" reminded me of a soliloquy in a theatre performance, the desperation of Elysabeth's vocals plucking every heart-string. "bastille day, 1961" was also exceptionally beautiful, brooding and regretful in a way that haunted the listener for hours afterwards. The piano solos in several songs add a dramatic and theatre-like quality to many of the tracks. (But all the songs have a great deal of strength, especially the ones available for previewing on MP3.com.)
Even just looking at this album ascetically, it was exceptional. Being an artist and a photographer, I appreciated the care and obvious work put into the photos and overall presentation. Sam and Elysabeth, as always, look stunning and yet very human. The poems are beautifully written and the story can be taken literally or metaphorically (I prefer the latter), with a great deal of meaning to be taken away.
It never ceases to amaze me how much staying power black tape for a blue girl has. In all these years, in 8 albums, they manage to keep me entranced and in wonder of their talent, in all aspects, musically of course, but also lyrically (reads like poetry) and artistically (I'm sure I could learn a thing or two from Sam and Lisa in terms of design and photography.)
Keep up the good work, black tape, as you carry the flag very well and give the overall ""Gothic"" genre a good name.

I was introduced to BLACK TAPE FOR A BLUE GIRL by a German radio station back in the eighties. I must confess I prefered more simple Gothic-music back in those days. I was too young to appreciate this whole new universe of music that Sam Rosenthal created.
Thanks to the internet I came across some mp3-files that kept my interest.
And thanks to Amazon.com I was able to purchase this special music which isn't available in average German record stores.
Yes, „The Scavenger Bride" sounds like a BLACK TAPE FOR A BLUE GIRL-CD. But I think it is ridiculous that someother reviewer blamed BLACK TAPE FOR A BLUE GIRL for being BLACK TAPE FOR A BLUE GIRL.
By the way: "A rose is a rose is a rose."
„The Scavenger Bride" is another voyage of exploration into the universe of Sam Rosenthal. And I am glad I can go on this voyage to discover new things each time I put the CD in the player.

I've always been impressed by the variety of soundscapes painted by the artists of Black Tape for a Blue Girl, and this album is no exception; indeed, it was even a pleasant surprise since the band has taken a new direction with this record. All of their songs have always told a story of sorts, but this concept album works in concert to illustrate a much bigger, richer idea: the notion of the "Scavenger Bride," inspired, I understand, from a folktale. Sam Rosenthal's work has always been so emotive, and Elysabeth Grant's voice is as compelling as it has ever been. Additionally, I particularly love the interplay of electronics and "real" instruments (mainly cello and violin) to construct these dense emotional funnels that just suck you into every piece. Adding in Germanic and Eastern rhythms and arrangements, there is a variety and diversity that really takes this album to the next level. The classic BTFABG sound remains intact but new dimensions arise from the depths and insinuate themselves into your mind. It's like Absinthe for the ears and an excellent work of art.

While select people have used unkind words towards Black Tape for a Blue Girl, I must still conclude that "The Scavenger Bride" is a very good CD. Both with the guests they have brought onto the album, to Lisa's great fluting, to Elizibeth's amazing vocal range, this CD (for lack of a better term) "rocks". I bought the CD several months ago and I absolutly love the fact they can not only deliver a great sound but bring people in to make guest appearances who can really add to the whole mood of the album. In the past, I've been a bit scared of Concept Albums, but the obscurity of this one,combined with it's beauty are what make it worth while. I suggest buying this album, but only if you can recognize true beauty and keep an open mind.

Why the comparisons to Dead Can Dance? Lisa Gerrard may not have much to say verbally, but her voice transcends goth pigeonholes and all the attached fol-de-rol. There was always something unique in a Dead Can Dance record, and it usually didn't have anything to do with Brendan Perry. The same can be said for BTFABG, because if there's anything transcendant going on, it certainly has nothing to do with Sam Rosenthal. There are moments when you can't believe this is actually a BTFABG record, because it surprises, but there's always a bit of a dorky or abysmally embarassing element which brings us all back to the world of Sam Rosenthal and cancels out anything which may have redeemed the piece in question. And there's always something in question, aside from the unfortunate song titles. If you want Dead Can Dance, please BUY a Dead Can Dance record, then buy one of these. Compare. If you have any intelligence whatsoever, you will realize that aside from even DCD's flaws, there is no comparison. And there never will be. Otherwise, it's a fair effort for a band that's still got a long way to go.

NEVER IN A MLLION YEARS SHOULD BTFBG EVER, I SAY AGAIN, EVER BE LIKENED TO DCD. THEIR SOUNDS ARE A UNIVERSE APART.

I love BTFBG. BUT... this album sounds just like... well.... BTFBG. Of course those HORRIBLE male vocals of the past are thankfully gone. But in the end THIS SOUNDS JUST LIKE EVEYTHING ELSE "THEY'VE" DONE since The Rope.

I've been a big fan since I first discovered BTFBG in the early 90's and have faithfully purchased each new release. I am absolutely STUNNED at how many reviews I've read, many included in the Projekt newsletter, that suggest comparisons to DCD. I'm actually surprised Sam Rosenthal has never mentioned this GLARING DISCREPANCY in his newsletter.

As mentioned I am indeed a fan, but I only give this CD 3 stars since it's basically a re-hash of the same old thing they've been doing for years over and over again. Personally I'd really prefer to see some growth in the group.

I still like BTFABG. Though I really wish Sam would do something new. Well besides including naked pictures of his wife in the last 2 CD booklets, it would be nice to see some growth in his music. It's nice music, but it's pretty much the same thing on every CD. So instead of developing your photographic talents and fulfilling your odd desire to share Lisa's nipples with the world, how about some musical growth for a change?

If you like the idea of having a whole bunch of albums with the same kind of music then BTFABG is your best choice in this genre. But in the end, if you've heard one BTFABG recording, you've heard them all...

As the years go by, Goth music has become a self-conscious parody of itself,
morphing into so many dispensable genres, it's not worth the time accounting for. If you are desperate (and you must be, as there are so few Goth bands these days, and rightfully so,)
you may search out what passes for "Goth," and
if you have any experience with its origins, you might either laugh or cry listening to the "Scavenger Bride."
I've listened, and my first instinct is save this disc as a novelty.
But I must confess there's much more going on here.
I have found, upon several listens, that this album is like a large, airy room, or possibly several, where there are many beds and armoires and largesse from a day gone by. But instead of offering lavish histories and anecdotes
by which we may be enriched, we see only garbage and incidental tacky remains. They have no color, and no sense of belonging.
They simply stay where they are, and beg the observer: "see me. Appreciate me, because I am here."
Try as I might I see nothing of interest here as I open drawers and look for remnants of something, anything with which might help me to understand why this piece of music is for sale at all.
What I do see, however, is a young lonely man, yearning for celebrity, using his confidence and money to
try to achieve that which may prove unattainable. This, and only this, is what makes my heart cry.