Thursday, February 04, 2016

Mark Solotroff - Live - 02​-​02​-​16 - The Empty Bottle - Chicago (Recording)

Tuesday, February 02, 2016


So, I had an amazing dream. BLOODYMINDED was playing some sort of punk house show. But rather than it being in a gross, damp, dark basement, the show was on the upper floor of a nice, clean, big, old Victorian house. From the area we were playing, you could look out the windows and see the big backyard. It was a daytime show and it was sunny and nice out.

I recall that we were playing as a stripped-down line-up -- just Isidro, James and me. Things were going pretty well. I only made one mistake, announcing the wrong song at one point... pretty typical, right?

A large crowd filled the room and they were really excited, they were physical and they all seemed to be in a great mood. I was moving through the audience effortlessly and things were going really well.

Towards the end, I was really pleased to announced that we would be playing a brand new song for the first time.

Then I noticed that the synths were sort of going, droning on, but not at full blast. Apparently, Isidro and James had left the stage -- I think to get a drink -- and the crowd was starting to head out to the backyard, or so it appeared when I looked out the window.

Screw it. I enthusiastically announced our new song, "Pieter's Tongue," and I proceeded to play it all by myself. The sound was sort of power-electronics meets minimal-synth meets death-industrial meets glam-rock meets electro-acoustic... It sounded amazing - to me, at least - but the people who stayed looked totally dumbfounded. Maybe in a good way?

After I finished, I went downstairs and I confronted James and Isidro. I told them that they just cannot do things like that. They both sort of shrugged and went on drinking and talking. I told them that BLOODYMINDED might need to take a break if that was the attitude they were going to have.

I do not know what the dream meant, and everything is cool with BLOODYMINDED, but I do know that we are writing a song called "Pieter's Tongue" for our next album. -Mark

Saturday, January 30, 2016

BloodLust! February 2016 Update

The BloodLust! February 2016 Update has been sent to the mailing list. You may access it here:

Sunday, January 24, 2016

Mark Solotroff Solo Synth Performance

Mark Solotroff may be better known as the vocalist of Anatomy of Habit (Relapse Records) and BLOODYMINDED (BloodLust!), but he has a long history playing analog synthesizer. His synth work has been at the core of his bands BLOODYMINDED and Intrinsic Action, he has recorded and released 100 hours of dark analog synth music under the name Super Eight Loop and he has been part of the synth trio Nightmares. Solotroff has also contributed synth to several other bands, live and/or in the studio, ranging from a recurring role in Wrekmeister Harmonies (Thrill Jockey) to guest appearances with Brutal Truth, Consumer Electronics, Indian and Locrian. Prior to 2016, Solotroff only ever played a single solo synth set.

Monday, January 18, 2016

Mark Solotroff Solo Synth Performance

Mark Solotroff will appear at The Empty Bottle on Tuesday February 2, 2016, for a solo analog synth performance. His first and only synth show to date was under the Super Eight Loop name, in 2008.

Thursday, December 24, 2015

Skull Days

Holiday greetings from BloodLust! HQ Mexico City 

Saturday, November 21, 2015

Mark Solotroff at Museum of Contemporary Art - 11/22

Esther Shaw and J.R. Robinson of Wrekmeister Harmonies have a new piece called "Oscar Screams" for Pope.L's "Cage Unrequited" at the MCA. Mark Solotroff and Billie Howard will be doing a reading on Sunday November 21st, at exactly 3:18 PM.

This event is FREE to the public.

"Cage Unrequited" is a 25-hour marathon reading of experimental composer John Cage’s influential book "Silence: Lectures and Writings" (1961) organized by visual artist Pope.L. The performance reimagines the book for contemporary audiences by filtering a bit of the past through the voices and attitudes of a diverse community of more than 100 invited readers from Chicago.

This program is presented in association with the exhibition "The Freedom Principle: Experiments in Art and Music 1965 to Now."

"Cage Unrequited" was originally commissioned and premiered as part of "Three Duets, Seven Variations," a special series of performances organized by Adrienne Edwards, Performa, and Thomas J. Lax, The Studio Museum in Harlem, during the Performa 13 biennial for the New York presentation of "Radical Presence: Black Performance" in Contemporary Art at The Studio Museum in Harlem and NYU’s Grey Art Gallery. Radical Presence is curated by Valerie Cassel Oliver, Senior Curator, Contemporary Arts Museum Houston.

For more information visit