This not the new album! This is Raison d'être from another time and world and sounds quite different! 'Tales from the Tabula Rasa' contains 150 minutes of music and comes in a 6-panel Digipak enriched with photos by Roman Sirotin and painting by Jennifer Gordon and Roman Sirotin. All music by Peter Andersson 1988-1991. Reworked 2014.
'Tales from the Tabula Rasa' presents Raison d'être in its earliest form, when there was no past and only future. This was the birth of Raison d'être and the creative music mind of Peter Andersson. In one way it can be seen as the first particles to the seed that later became the established Raison d'être sound in the 1990's. In the other way it can be seen as the evil twin seed that was left to die in an early stage, like if it was a stillborn or an infanticide. Nevertheless it is a period of time that can not completely be forgotten; a time when the first chapter of Raison d'être was written. The music is heavily influenced by ancient myths, legends, religion, philosophy and history. The output is referred to tales rather than songs. There is a story told in each and every sequence.
Most of the material is previously unreleased on CD but some (few) are known from the collection album 'Reflections from the Time of Opening' (1997/2005). Almost all the tracks are taken from three unofficial cassette releases from 1991, the year when Raison d'être was born. A small portion is even earlier, from a pre-Raison d'être project called D:Combe, active between 1988-1990. All material has been reworked by Peter Andersson in 2014. To the large extent the tracks are still the same, only some very annoying sounds or parts have been removed, and some orchestral sound samples have been replaced with better and more ex- pressive versions. Five tracks from the original cassettes were exluded on the CD-set since they were too irritating. The exclusion made place for the D:Combe material which has been undergoing a more cosmetic treatment through a harmonized reverb becoming more hypnotic and dronelike.
The fragments presented here are from the most experimental recordings, and the normal D:Combe sound was far from this, but still very primitive. Also changed is a pair of known track titles, they have returned to their original idea of spelling.
