Friday, December 03, 2021
Tuesday, November 30, 2021
Sunday, November 28, 2021
Wednesday, November 10, 2021
Friday, November 05, 2021
A Form Of Consolation
This song was created with recordings made during the sessions for my album "Not Everybody Makes It." It's the first of three singles to be released during winter 2021-22. It's available via Bandcamp, as well as all major streaming platforms.
Wednesday, November 03, 2021
We just discovered this previously unseen video clip sent to us ages ago by Tim Gunderson
Wednesday, October 20, 2021
DIGIPAK CD VERSION NOW SHIPPING
Andrea, Paolo, and I are happy to announce the new CD version of our second album, "Demonization: These Worldly Powers.” The four-panel digipak design includes select art elements from the LP version, which we released earlier this year, presented in a new color orientation. As these CDs were on their way, the masters for our third album, “Sanctification: Seeing the Singularity,” were sent to us by Collin Jordan at The Boiler Room. We've just approved them, so now we'll start the pressing process for LPs, with the understanding that vinyl pressing turnaround times remain extremely long, while the pandemic continues to drag on.
Ensemble Sacrés Garçons is a post-industrial band that was formed in 1994, by Paolo L. Bandera (Sshe Retina Stimulants, Sigillum S, The Sodality, Iugula-Thor, etc.), Andrea Chiaravalli (Iugula-Thor), both from Milan, and Mark Solotroff (Anatomy of Habit, BLOODYMINDED, The Fortieth Day, Intrinsic Action, etc.), from Chicago. “Demonization: These Worldly Powers” is the band’s second album. It contains seven songs that are characterized by dense foundations of magnetic tape processing, spectral analog synth, and layers of opposing vocals.
I'm Your Nightmare (3:34)
Death Inflates (3:28)
Devil's Still On That Seat (4:25)
Voice Stealing (4:47)
Dead Band (7:50)
ORDER THE CD VIA BANDCAMP:
ORDER THE LP VIA BANDCAMP:
The album is pressed on 160 gram black vinyl. It’s housed in plain, glossy black LP jackets, with wrap-around 12”x24” poster sleeves, printed on both sides, in metallic silver ink on heavyweight black stock. There are individually numbered, double-sided 8.5”x11” cardstock inserts included, with credits and lyrics, as well as separate download codes.
Alternately, for international buyers, the CD and the LP are available via Paolo's Bandcamp page and will be sent from Milan, Italy:
(ORIGINAL LP ANNOUNCEMENT)
Andrea, Paolo, and I are very pleased to finally release the new album by our group, Ensemble Sacrés Garçons. We’ve been anticipating it for a long time… for over 25 years, in fact. We recorded our debut in 1994, in Brooklyn, at Bass Mind Studio. Andrea and I got to work utilizing recordings that Paolo had prepared in Milan, in advance. Megan Emish from Intrinsic Action/BLOODYMINDED produced those studio sessions for us. It was released on CD by the Italian label Old Europa Café in 1995.
We decided to start on our follow up, right away. To begin, Paolo again prepared material on analog tape, which he brought to Brooklyn, in 1995. I then manipulated these recordings in the manner of the SCTL (Source Control) style that I used on multiple Intrinsic Action releases. Roughly eight months later, after I completed my mix, Megan mastered the album for CD, at Acme Soundworks, NYC.
As 1996 continued on, Andrea, Paolo, and I considered and discussed the results. I think we all new that there was great material on the DAT master, but across the 12 songs and 70+ minute running time, it began to feel somewhat impenetrable. Amidst its thick walls of synth noise, tape distortion, and destroyed vocals, it was lacking in the appealing immediacy of its raw and primitive sounding predecessor. Time passed, and every so often, the three of us would discuss resurrecting the recordings, doing some judicious editing, and preparing to release it.
Finally, in 2018, a solid plan was put together. Paolo would focus on adding some minimal yet dynamic synth, I would write new lyrics, and Andrea and I would take a new and more direct approach to our vocals. In April of 2019, studio time was booked at Soundcheck Studio in Milan, and I flew there to record and to perform at our debut live show. I believe that our concert was particularly important, because it further solidified Ensemble Sacrés Garçons as more than a collaboration and more than a many-years-long series of face-to-face visits, video chats, emails, and faded out faxes. It felt like we really functioned as a band. During the recording sessions, Andrea and I were focused on our vocals, while Paolo was working his magic in the control room with the engineer, Matteo Pace. By the time I returned to Chicago, we knew that the tremendous chemistry of that week, grounded in our long friendship, had given us just what we needed to complete the album.
Paolo then got to work on his final synth tracks, as well as the challenging process of mixing the album. After just a couple of rounds of mixes, we knew that we were ready. But the album still seemed too long, especially if we were going to move forward with releasing it on vinyl. Our next step was to consider whether we had two solid albums, and if so, how we might divide the twelve songs between them. This actually turned out to be easier than we thought it would be, and two discrete albums materialized with very little effort.
We then sent the songs for the first LP to Collin Jordan at The Boiler Room, in Chicago, and we were thrilled with the results of his mastering work. As we were putting our plan together for the LP, the global pandemic hit and things slowed down again. We decided to use a relatively new pressing plant in Chicago, Smashed Plastic, which was doing some great work on albums that I’d heard. Once they were able to reopen their facilities our album went into the queue. After a few months, we had our vinyl in-hand. Staying local, we also decided to have a Chicago printer and friend – Erin Page/Kill Hatsumomo – screen print the sleeves that we designed. The three of us simply couldn’t be happier with the final outcome, especially after all of these years that have passed. As for the future, we’re already discussing plans for our third album, “Sanctification: Seeing the Singularity”...
(Mark Solotroff, February 2021)
Thursday, September 30, 2021
Friday, September 10, 2021
Tuesday, August 10, 2021
Return To Pleasure (Body Into Voice)
Reposting from Earsplit PR
Bloodyminded and Anatomy Of Habit founder, electronic music veteran, artist, multi-instrumentalist, and all around noise mastermind MARK SOLOTROFF is pleased to premiere his latest video, “Return To Pleasure (Body Into Voice),” today via CVLT Nation. The track comes off SOLOTROFF’s Not Everybody Makes It full-length, released independently last month.
Recorded and mixed by SOLOTROFF during April and May of 2021 and mastered by Collin Jordan at The Boiler Room in May in 2021, Not Everybody Makes It is SOLOTROFF’s most restrained and controlled synth recording to date. While he anticipated creating a hybrid of more primitive and aggressive sounds balanced by more subtle ambient textures, by the time he finished mixing the six new songs — each one exactly ten-minutes in length — he realized that he had made significant strides in evolving his recent style. Not Everybody Makes It functions as a sonic elegy to the countless losses that so many of us have suffered over the last year and in the recent past, and its shimmering and crumbling frequencies and textures enter into a tense balancing act with elusive melodies that slowly drown in and then emerge from the shifting and eroding dronescapes.
Offers SOLOTROFF of the solemn video, “It’s been difficult to view the devastating wildfires on the West Coast, over the last several years, and to not be moved by the widespread damage that they cause. During my last trip to Los Angeles, a friend who lives there pointed out vast stretches of scorched landscape as we drove along the expressway in his car, not all that far from Downtown, where I was staying. I’ve also lived through a fire in a former home in Chicago. There’s nothing like being woken up very early on a Sunday morning by neighbors pounding on your door, only to realize that half of your building is in flames. The distinct smell remained with me for a long time. Fire is a frightening but fascinating thing to see and to hear and I appreciate how it becomes very abstract, as you focus deeper on the dancing flames.
“‘Dancing,’ what a poetic word we use! Inspired by the legacy of experimental filmmakers who have been based in Chicago, from László Moholy-Nagy to Stan Brakhage, and Owen Land (who was actually my cousin; a progressively distant one, as far as my family history goes) to Lisa Slodki (AKA Noise Crush, whose work was exhibited by the Museum Of Contemporary Art and who collaborates with my bandmate Isidro Reyes and me, when we perform as The Fortieth Day), I created this abstract meditation on the destructive power of fire.”
View MARK SOLOTROFF’s “Return To Pleasure (Body Into Voice),” now playing at CVLT Nation, at THIS LOCATION.
Not Everybody Makes It is available on CD, in a four-panel digipak featuring SOLOTROFF’s photography, and on all major digital platforms. Find orders via Bandcamp HERE or iTunes/Apple Music HERE where the record can be streamed in full.
MARK SOLOTROFF‘s artwork and music focuses on several related key themes, including how cities develop, both organically and through organized planning, how the human body navigates urban environments, and how people navigate and interact with each other, particularly in an age of alienation caused by severe digital fragmentation.
In the music world, SOLOTROFF is best known as the vocalist of both the doom band Anatomy Of Habit and the heavy electronic band Bloodyminded, and as the founder of the early post-industrial band Intrinsic Action. He also has a more than thirty-five-year history playing analog synthesizer. His synth work has been at the core of Bloodyminded and Intrinsic Action, and he recorded and released one-hundred hours of lo-fi analog synth music under the name Super Eight Loop, which he recently digitized and remastered. He is part of the dark-synth group Nightmares, which released a new album in early 2020, as well as the post-industrial trio, Ensemble Sacrés Garçons, which released their first new album in over twenty-five years, in early 2021.
SOLOTROFF has also collaborated with and contributed synth and/or vocals to numerous bands, ranging from a four-year role in Wrekmeister Harmonies, to live appearances and/or studio recordings with diverse electronic, experimental, and metal bands, including The Atlas Moth, Brutal Truth, Consumer Electronics, Indian, Locrian, Plague Bringer, Sigillum S, and The Sodality. In late 2019, SOLOTROFF‘s synth was included on new releases by Azar Swan (“The Hissing Crane” on Primal Architecture) and The Body (“Remixed” on Thrill Jockey), and in 2020, he created remixes, augmented with his synth, for Statiqbloom (“Asphyxia Remixed” on Synthicide) and Snow Burial (“Painting The Streets With Our Blood”).
“SOLOTROFF focuses upon emotional states, as through chronicling a mix of anxiety and mourning. There’s space to immerse within the morose sounds that SOLOTROFF presents… it’s quietly surreal.” Captured Howls
“Themes of isolation have been prevalent in SOLOTROFF‘s recent work, with a series of eight tapes in the past few years (compiled earlier this year onto three 2CD volumes as the Strategic Planning series), but while those captured a sense of urban loneliness and anomie, Not Everybody Makes It is more personal and introspective. Besides the intentional imagery conveyed by the title, the hushed volumes and pseudo-melodies (not something often associated with his work) lock on to this sense of loneliness and despair.” – Brainwashed
“SOLOTROFF’s ear for sound is more unique than most. A listen to this record may inspire a new way of thinking and appreciating noise; a ponder into the authenticity of sound regarding what we consider to be music.” – Distorted Sound
“This collection was in part SOLOTROFF’s response to the emergence of the pandemic last year, a set of circumstances that intensified the significance of the themes with which his work is usually concerned – how people navigate and interact with each other, particularly in an age of alienation caused by severe digital fragmentation, how cities develop and how the human body navigates urban environments. Taking this into account the layers of stillness, movement, fragility, ambivalence, menace, and unease wrapped in the strata of glassy, metallic drone make sense. This is a very beautiful yet disquieting collection that SOLOTROFF has created, perfect for our times.” – The Sleeping Shaman
“Those who like their ambient music to be dark, dystopian, and minimalist in nature should have a very good chance of finding this album to be quite the rewarding experience.” – The Viking In The Wilderness