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Atelier 18 (Victor Reynart)

[40-ENG] The Bloody Beetroots - Retrospective (2007-2020).

5 Février 2020 , Rédigé par Victor Reynart Publié dans #Musique


     That’s not always the case, but I remember very precisely how I discovered the band. During my graphism studies, we had a drawing session once a week, during which one of us had to stay in the middle of the room, with everyone one around him in circle, and should take successively several poses of few minutes each, to let the other draw him/her. Fortunately, we were allowed to listen to music, with speakers obviously. And one day, one of us was sitted on a table in the middle of the room and listened to a mix a friend gave him. At one point, some loud sounds and weird screams came out its speakers to reach our ears, used until now to the ambiant silence only disturbed by the sound of our pencil leads glidding on our large paper sheets. First, some eyes met, and then, smiles appeared on our faces. Finally, that guy with the speakers noticed it and took them off. And after a general laghter, he turned down the volume and the drawing session continued, calmly. Once ended, I went to him and asked what he was listen to. That was the first time I heard the name Bloody Beetroots. And that I heard this:


Well, let’s start.




END OF 2006


     The DJs Tommy Tea and Sir Bob Cornelius Rifo (whose real name is Simone Cogo) form a duo called The Bloody Beetroots and start to mix on stage. Italians, they choose to make a reference to the Commedia Dell’Arte’s characters and the Venitian masks by each wearing a Venom mask (A pop culture symbol, or more its darker side: Venom being the Spider-Man’s version parasitized by the symbiote, an evil extraterrestrial entity.), to keep their identity secret and add some mystery to their stage name, which doesn’t have any particular meaning or signification, but is easy to remember (like Bob Rifo, one of the two members of the duo, explains it in this interview).


Signed at Dim Mak Records at this time, they got a "streetwear" look (cap, shirt, etc.) that will disappear later.


     That mask also reminds another Comic book’s character: Grendel. In some interviews of Bob Rifo, he will explain that the mask makes everyone forget the human being behind and allow them to focus on the music. And Grendel match perfectly with this idea, because it’s not really a character but an entity, neither good nor bad, that takes successively possession of many characters during his adventures. Sometimes, he wears suits, here is a little comparative:



     Qucikly spotted by the big names of electronic music, like Alex Gopher or Étienne de Crécy, from who they remixed respectively The Game, and Funk, that everyone (In France) heard at least once, in the movie 99 Francs (2007):


     Then, they remixed a lot of songs, including this one:


     Or this one, a throbbing and poisonous remix of Sensoria, by Cabaret Voltaire, with both a dark brutal and sophisticated tone:





     An EP titled Rombo is released the 9th of September. With an illustrated cover using the same look they have on stage and that show the brutality of their sounds. The single I love the Bloody Beetroots is typical of the first phase of the band (we can count three of them, but I’ill come back to that later). A big fat loudy sound. :)


     The 16th of December, a second EP is released: Cornelius. Also the name of the main track of the EP, and a part of the stage name of one of the two member of the band, which already announced his main role in it. The high-pitched and oscillating synth, along with choirs waving to the rhythm of the track give it a « shamanic » tone. And the official video is crazy:


     In the first shot of it, we can see the Bob Rifo’s "1977" tattoo, the release year of God Save The Queen, by the Sex Pistols, and of the explosion of punk, which will become a major element of the band. The punk being a very present style in the Bloody Beetroots sound.





     The 24th of March were both released Warp 1.9 (Woop! Woop!) and Warp 7.7 (as a double single). Produced with the help of Steve Aoki, the founder of the BB’s label: Dim Mak Records. By the way, they will make a few collaborations through the years, and their duo (with only Bob Rifo, from the band) will be called "Rifoki". The two names of the EP’s tracks form 1977: a number I talked about previously and which is also the year of birth of Bob Rifo. Warp 1.9 is still today the most famous track of the band:


     The 8th of June, Stay (The Bloody Beetroots Vocal Rmx) is released. Bob Rifo is credited as producer and I suppose he had potentially worked alone on this remix, which samples the music La Serenissima by Rondò Veneziano (form which here’s the animated official video), and that is still today one of the best ones of the band:


     There is also an official instrumental version of it:


     The 28th of July, a single of their first album, which comes next month, is released: Awesome.


     The 25th of August, the first album of the band is out: Romborama.


The cover art is from Tanino Liberatore, who will be in charge of those of the next albums of the band.


     It’s like a weightless journey in a dark and experimental place, full of energy that never stops to shout its stranges and overdriven sonorities (sometimes to the limit for our ears) along its 22 tracks. Some of them are more made for a large audience, like Awesome (the single), 2nd Streets Have No Name, Mother or I love the Bloody Beetroots (already present in their first EP). Warp 1.9 is also there. And each time I listen again this album, I stop a moment on Make me blank, that sounds totally different than the other tracks. Slow, dark… A style that Rifo will explore deeply in his future solo project SBCR or in one of its last collaborations with the Bloody Beetroots, like Zoning with Zhu, in 2019.


     House N°84 is also a key part of the album.


     To end 2009, a new EP is released the 8th of December: Christmas Vendetta… Spares of Romborama, containing a more raw version of Warp 1.9, a remix of Talkin’ In My Sleep (by the band itself) and a remix of Mystery Meat by All Leather. They all got a rough strengh, especially the furious and creepy version of Warp (the one I shared at the beginning of this article and with which I discovered the band).





     The 19th of February, a 3-tracks EP dedicated to the track 2nd Streets Have No Name is released, including the album version, an acoustic version in collaboration with, among others, Something A La Mode, and a live at Tropical Pizza.


     The 29th or March, during a live performance at the Ultra festival, the band makes a cover of the movie 28 days later (2002), In the house-in a heartbeat, composed by John Murphy:


     The 6th, a second complementary EP of Romborama is released: Domino (Spares ro Rombaram Pt.2). A third member, Edward Grinch, joins the duo as a drummer at that time and the creation of the mythology around the character of Cornelius continues, with a black and white video (Bob Rifo being also a photograph, particulary interesting by those two colors) and a very orchestral track that suddenly explodes in your face: Domino.


     The 13th of July, the remix of the track New Noise is released, for the re-issue of the album The Shape of Punk to Come (1998) from the swedish hardcore punk band Refused. That remix is the turning point of the band.





     This is a year of transition for the band, with only one release. The 25th of January, a remixes album is released: Best Of: (Remixes). It’s a compilation and selection among their long list of remixes since the creation of the band. Funk and New Noise are in. Can’t stop me now, Black Gloves and Stomp Da Roach stand out. And even more Baseball Bat, a compact dose of raw energy:


     That album marks the end of the first phase of the band. And that also this year that starts the project and the tour Death Crew 1977 (which seems to have been a try of a solo band from Bob Rifo, during which the drummer Edward Grinch has been replaced by another one nicknamed "Battle"), from which the first production is a collaboration between Bob Rifo and Dennis Lyxzén, the singer of the band Refused: Church of Noise (released the 15th of November). Bringing back punk to the forefront of the band’s sonority.


     A making-of in two parts about the creation of this video has been published on the official channel of the Bloody:






     The 8th of May, like a foretaste of what’s coming next, a remix is released and announce the new sonorities of the Bloody Beetroots, that will be present in the coming album.


     And that’s the 26th of June that starts a singles/videos/remixes EPs series, with the release of Rocksteady, the first single of the second album. The official video is released two days later, the 28th of June, featuring Marilyn Rondon (a Venezuelan artist and DJ):


     Two EPs of remixes will follow and will be released the 10th and the 31th of July:


The two cover arts.


     Six powerful covers, with a major one, because it will be blended with the original track in the final album version:


     Three months mater, Bob Rifo teased the upcoming single by sharing its tablature, and invited everyone to discover the song by playing it themselves in a first time. Here is the file that was shared at that time:



     The 23rd of October, second single: Chronicles of a fallen love. Featuring the Faroese singer Greta Svabo Bech, of whom the very high-pitched and atypical voice was already known by electronic music lovers with the song Raise Your Weapon by Deadmau5 (released the 26th of December, 2010). A music that Madeon remixed the following year, which gave him some visibility, but I digress.


     A peacuful way to end the year 2012.





     The year starts slowly with the release of the two EPs of remixes for Chronicles of a fallen love, the 8th and 22th of January.


The two cover arts.


     The best remixes are on the second EP, with the one of Carli, that sounds like a "dancefloor" version of the track, the Tom Swoon version (from who I advise you Wings, one of his mist unfamous tracks where the traditional game with the drop is particulary pleasant), very similar to the original but a little bit more intense and the Wolf Saga one, a very synthwave instrumental version:


     The 17th or March, interrupting that series of singles/EPs/remixes releasing, Bob Rifo presents a personnal project almosat totally disconnected from the band, but from which the aesthetic will become a part of the imagery of the BB later. Photograph, he exposes at Milan, in the Four Roses gallery, a "photographic novel" titled Black Sheep:


The exposition’s poster.


     On the band’s channel, he shares a short video to present the exposition:


     Along with a short making-of:


     The 19th of March, he’s back to the music with a third single: Spank. Unlike the two previous ones, only one EP of remixes is released, the 7th of May, but any of them overtops the original. Three days later, the 10th of May, the official video is out. It’s in black & white, in the streets of Brooklyn and focus on three freestyle dancers, with a nervous editing, alike the single. Her's the video:


     A short making-of was shared the 17th of May, mainly about an interview of Kenny Wormald, the leader of the dancers trio.


     A few days later, the 29th of May, three making-of videos are shared on the Ultra's Youtube channel. They present the new mask that Bob Rifo will wear on stage:



     Crafted by Cutecircuit, its equiped with LEDs that shines in rhythm with the music played live, thanks to the MIDI controlers of the mask:


The mask with the LEDs on.


     The 18th of June, the fourth album’s single is released: Out of Sight. In collaboration with Paul McCartney and Youth. That track has a particular story, because it’s origin sends back to a meeting between Bob Rifo and Youth, producer, bass player of the band Killing Joke and membre of the duo the Fireman, from which the other one is Paul McCartney. And Out of Sight is kinda a remix of one of their tracks, this one:


     The 8th of July, the official version of Rifo’s version is released:


     The 3rd of September, is the release day of the fifth and last single pf the upcoming album. It’s a duo with the American rapper Theophilus London (from who he remixed a track in 2011), in a more groovy style than usually: All the girls.


     Two months later, a making-of video will be published on the Ultra’s channel:


     Because the 17th of September, the latter is finally out. Hide. In a interview of Bob Rifo from the 27th of September of this year, he defines it in this terms:


"The main theme of Hide… Is to build, a bridge, between the music of the pastAnd the music of the present, to create the sound of the future."


     There is a lot of things to say about this album, so let’s start with its cover art:


Once again, illustrated by Tanino Liberatore.



     A few artworks of it were shared by Bob Rifo on the BB’s Facebook page:


The original idea.


A variation, with the American flag in the background, which still be there on the final cover.


Colorized version.


Some early drafts of the final version.


     This cover art was inspired by another one from the artist, created for his most famous work: RanXerox.


RanXerox in New York (1981).


     On the cover art, just before the band’s name, we can read: Sir Bob Rifo Cornelius presents; which means he’s the one in charge from now, because this year, Tommy Tea left the band to work on a solo project. It’s a personal thought, but I imagin that the artistic direction that the band was taking didn’t suit the way he wanted to create music. But after that split, they will continue to mix together on stage, for a tour named Bloody Beetroots DJ Set (source: https://djmag.com/content/qa-bloody-beetroots). And, according to this interview, Rifo also explains that he gives live performances with a band (drummer, guitarist and keyboardist), under the name The Bloody Beetroots LIVE. And from some live sessions I saw on the Internet back in the days, he changed frequently his role inside this band, according to the song that was played (from the micro to the keyboard, the piano or even the guitar).


The full band with the "The Bloody Beetroots LIVE" logo behind Bob, wearing his LED’s’ mask and jumping (something he enjoys to do on stage).


     Adding to the cover art, Tanino Liberatore also created an illustration for the album’s booklet, on which Bob Rifo, playing piano, is surrounded by the musicians he collaborated with for the album. Here is the differents steps of the creation of this illustration:


Bob Rifo.


We can here recognize Paul McCartney on the left and Tommy Lee on the piano’s right.


The full group of people.


The final version, in black & white.


And the final album version, on which Paul McCartney finally didn’t appears.



     So, the album. With fifteen tracks, we can see it as a long electronic musical experimant in which the featurings follow each other without looking alike. Which gives diversity to the whole thing, but in return, don’t let it having a musical consistency. Except the already five released singles, somes tracks emerge, like The Furious, with Penny Rimbaud (a writer, poete and activist very close and linked to the punk movement). The result is some serious lyrics and a powerful sound, with an instrumentation alternating from classical orchestration to electronic blasts:


     A second collaboration between the two artists will become a bonus track of the album: The Prayer. We can hear some Craig Armstrong’s influence in the instrumentation.


     A few months after the release of the album, a short interview of Penny Rimbaud was posted on the Ultra’s channel:


     Reactivated is also an excellent track, if we are receptive to its 90s'/Eurodance's vibe:


     The 12th track is by far the best track of the album:


     It sweats sound saturation and hits the eardrums in the good way. Pure Beetroots. Besides, Bob Rifo will use the name "Chaos & Confusion" for his 2014’s tour, along side with a black & white picture in the style of his photographic project Black Sheep:



     Rocksteady, the first single of this album (released in 2012), was finally mixed with the Gigi Barocco remix, for a version more orientated in trapstep/dubstep:


     An indirect collaboration that leaded to another one, a real team work this time, that concludes the album: Volevo Un Gatto Nero (You Promised Me Bob Rifo):


     The title is a reference to the name of a popular song of 1969, a tango, that means "I wanted a black cat". Two versions were recorded simultaneously in Japan (Kuroneko no Tango) and in Italy. The latter has become famous because of the Vincenza Pasterolli’s prestation, aged 4 at that time. Unfortunately, in 2007, she has been arrested by the italian police during an operation against a prostitution network. I guess that the punk and subversive side of this story has inspired the duo for their collaboration.


     For the other great tracks of the album, we can mention Raw, in collaboration with Tommy Lee (co-founder and drummer of Mötley Crüe), for its energy and the presence of a real drummer in a track of a band that usually use sounds that comes from a software. Glow in the dark with Sam Sparro was also very promising: the nocturnal atmosphere is there, but it miss a little something  to work (on the other hand, I recommend you that great remix of a Sam Sparro's song). Surprisingly, that lighter live and "unplugged" version, with Greta Svabo Bech singing, sounds much better:


     Finally, The Beat, along with Peter Frampton, gets somes Romborama era sonorities, and the presence of the Talkbox that made the singer famous. It’s a little device that allow a singer to modify his voice with the sound of a real instrument: an electric guitar most of the time. A short making-of video published on the Ultra’s channel show the recording session of the singer’s voice for this song:


     And to end with this second album and the year 2013, I’ll talk quickly about the four bonus tracks: A Prayer, Keep On Dancing, Til Death Do Us Part and 35. Respectively initially released on Spotify, iTunes, the Soundcloud of the band and the website Church of Noise. The two first ones as bonus tracks, the third shared for 2013’s christmas and the last one as a free download for the members of the website. Besides, the third first ones has been included in the japanese version of Hide, released over there the 4th of December (before the release of 35 then, that’s why the track is not in this version of the album).

– A Prayer, as I say it before, is the second collaboration between Bob Rifo and Penny Rimbaud.

– Keep On Dancing is a collaboration with Drop The Lime (real name Luca Venezia), from whom the musical productions blended electronic music with rockabilly back in the time, before he ends this project and go live to Berlin to focus on another project more orientated Techno and New Wave: Curses. I recommend you very good this track from Drop The Lime by the way: Darkness. I was as fan as one of those than the other at that time, so when I learned they would make a track together, the hype was present. And I was no disappointed. A few days after the release of the album, the 19th of September, an official video showing the recording of the song was shared on the Ultra’s channel:


Til Death Do Us Part, the third bonus track, features the singer Lisa Kekaula (with who the Bloody already worked on the Romborama’s track Talkin’ In My Sleep).


– And the last one: 35 (the age of Bob when he made that music). A good old powerful instrumental:





     After a busy year for the band, this one was calmer. The musical releases will mostly be about singles/remixes of the Hide album's tracks.

     The first event of 2014 is the apparition of Bob Rifo in an episode of the TV show Teen Wolf (2011-2017), in the Illuminated one. Rifo plays a DJ mixing in a special Halloween party. Many tracks of Hide are played during this episode (35, Chronicles of a Fallen Love, A Prayer and The Source (Chaos & Confusion) and for the occasion, Rifo has remixed the opening theme of the show (remix that was only used for this episode):


     The 14th of February, an official video for Raw is released. Neons, liquids and fast-cut editing:


     Four days later, the 18th of February, an EP of four titles is released, which contains two collaborations between Bob Rifo and Raphael Gualazzi (both in their full and instrumentals version). One of these titles, Liberi O No, was in competition for the 2014 edition of the Sanremo Festival (dedicated to popular italian music). Here its official video:


     The 1st of April, an remixes’ EP of The Beat is released:


The cover art of the EP.


     The same month, Beatport organized a remix contest of this track. The winner saw his track published on the website the 22th, and on the Ultra’s channel the 25th:


     And the 13th of May comes out the last Bloody Beetroots’ production for this year (and also for a long time): the Keep On Dancing’s remixes EP. The Angger Dimas’s remix, which is part of it, has been for a long time the only leaked version of the track, recorded live and available on Youtube in low definition. Otherwise, the Bloody Beetroots « Rockabilly"’s version, shorten and without any electronic sonorities, is pretty much enjoyable:


     And the L.A. Knights' one, at the opposite, get rid of all the rockabilly stuff to create a pure electronic track:





     An important year for the Bloody Beetroots, because its leader and now only member, Bob Rifo, planned to end it to focus a solo project named SBCR (for Sir Bob Cornelius Rifo or Saint Bass City Rocker). Beside, in the beginning of February, Rifo shares on the Bloody BeetrootsSoundcloud account a playlist of unreleased, demos and other bonus tracks from 2008 to 2014. Here is a little selection:
The Bloody Beetroots - Pinky Girl [2007]
Which could have been one of the best tracks of the band, if they had finish it back in the time.
Cazals - Somebody Somewhere (The Bloody Beetroots Remix) [2008]
– Boys Noize - Sweet Light (Bobermann Remix) [2009]
– Genesis - Turn It On Again The Bloody Beetroots Remix) [2009]
The Bloody Beetroots - Just Like A Motherfucker [2014]

Which could also have become a classic of the band.


     Finally, The Bloody Beetroots will just stay in the shadow of the solo project of Rifo until their return in 2017, for the ten years anniversary of their creation. SBCR then, a return to the roots for which Rifo comes back to Dim Mak (where the Bloody have started) and a long period of experimentation during which Bob tests and masters a new kind of sonority that we’ll partially find again in the future releases of the Bloody. Because the main difference of the SBCR project is the abscence of punk for a more present and diversified electronic music.


     The first EP of this project is released the 17th of March. Its name: SBCR & Friends Vol 1. The second drop of Ape’s Gun is brutal and powerful, Blush, an slow and dark instrumental, sounds like a background or TV show main title’s theme or like a commercial ad music and The Grid is a mix of raw and violent energy, like its official video, the only one of the EP:


     The 21th of July, a new single is released, in collaboration with HAEZER (from whom I recommend you Here Comes the Punk, a very « early Beetroots" music): Mind Off.


     The 24th of July, a new single, Spider, is released and announces a second EP:


     A small break here: the 31th of August, the website Talenthouse announced the winner of a contest launched earlier during this year, for which the participants had to submit a new design idea for Bob Rifo’s mask, that he would wear while performing on stage musics for his new solo project SBCR. And here is the winner’s one (you can see the others here, some of them worth it), on which I’ll come back lately in this article:



     And (end of the break) this is the 21th of August that is released the second SBCR’s EP: SBCR & Adversaries Vol.2. Spider opens it, then comes House Pizza Party, a song with a good rhythm and some energy, contained but not to much. Later, Frankenstein gets a drop with a particular construction, that seems to "hop" permanently. Krack has a darker tone and Rise & Fall, that ends the EP, finishes on a slower and aerial touch.


The cover art of the EP.


     The 9th of October, Bob Rifo releases a remix of Elektra by Refused (that I also recommand you, an excellent punk/rock track with a magnificent video). This is the third collaboration between him and Dennis Lyxzén, the singer of the band (active in the 90s but outside the stage since 2000, it was reunited shortly in 2012 after the singer’s collaborations with the Bloody, and for good since 2014).


     The 1st of December, Beatport announced the three winners of a contest of Spider’s remixes and releases an EP with the three tracks. The first (Ricky Mears Remix) uses loud bass and some trap’s distorded voices, with drops that reminds earlier Skrillex’s productions. The second (Splash In The House Remix) is more into EDM’s sonorities and the third (N4C Remix) sounds like a mix of reggae/dubstep.


     And to concludes 2015, a single is released, Back To The Top, that announces the third and last upcoming SBCR’s EP:





     The first release of the year, the 12th of February, is a bonus single that won’t be included in the 3rd EP: Shelter.


     And the 25th of March comes out SBCR & Punks Vol. 3, second and last release of this year, but also last of the SBCR project (until today at least). Like Spider, only single of the previous EP, Back To The Top is in the first position. Guillotine is a blast and the punk makes its come back in the EP title but also in Clean Your Shit, the last track of it, in which we can hear the will to bring back some kick drum and the saturated sound of electric guitars. An excellent track to conclude this solo project that compiles 19 tracks, enough to make its own "best-of":





     The 10th anniversary's year of the The Bloody Beetroots's creation. Since a little while at that time, an album had been announced by Bob Rifo to celebrate it. The 9th of February, a remix came out and was like an appetizer for the fans to wait for the album:


Small reminder: In 2015, Bob Rifo organized a contest, to replace the emblematic Venom/Grendel’s mask of the Bloody. A winner has been chosen and its mask has been selected. But Rifo didn’t used it when doing SBCR and have waited for the return of The Bloody Beetroots. He made a few changes but kept the original little red border around the white eyes with pointed tips. And we could have seen this temporary new mask in a few promotional photographies for articles/interviews that came out before the release of the album:


Here in the english magazine Schön!.


Two more photographies. If the mask should have change, the "dark suit" side was still there.


     In this promotional teaser which announced the band’s return:


     And for the promotion of the first single of the album relesed the 7th of July: My Name Is Thunder. A live official video of this track has been published on the band’s Youtube channel the 12th of September:


     It’s a collaboration with the rock band Jet. Or to be more specific, a double collaboration.


The two cover arts.


     Two version then. The first is more into electro-punk and the second into punk-rock, without synthetizers or any other electronic sonorities.


     The name of this single was also the one of a tour that started the 27th of October, a week after the release of the album.


Promotional picture of both the single and the tour.


     After the release of this first single, Bob Rifo will finally come back to the initial Bloody Beetroots’ mask.


     The 31th of October, a second single is released: Saint Bass City Rocker (SBCR then). An instrumental that reminds the early sonorities of the band and the "Bloody Beetroots" choirs from the Domino (Spares Of Romoborama Pt. 2) EP. Probably a track that has been stocked since a long time, until that moment. And (personal thought) maybe that also was the last Bloody Beetroots’ track made before the beginning of Bob Rifo’s SBCR project. An official video of this instrumental which illustrates the current geopolitical news has been released the next year, the 16th of August, 2018:


     The 12th of September (the release day of the My Name Is Thunder’s video), the third single is released: Pirates, Punks & Politicians, featuring Perry Farell (leader of the band Jane’s Addiction, among other things). Which will be the best track of the album. Period.


     Perry Farell will even release a solo version of it in his album Kind Heaven, the 7th of June, 2019:


     Finally, before the imminent release of the album, is released the last single, Crash, featuring Jason Aalon Butler (singer of the band Letlive). The sound is raw and we can hear some Immigrant Song’s choirs samples in the background, along with a nervous instrumentation and a screaming voice. #headbang


     And the 20th of October, the third album of The Bloody Beetroots is released: The Great Electronic Swindle.


The cover art of the album, once again from Tanino Liberatore.


     Bob Rifo has explained that this title was an hommage to the soundtrack of the movie The Great Rock And Roll Swindle (1980), by Julian Temple, which contains a lots of Sex Pistols' songs.

     The album is a compilation of featurings more or less memorable. As an example, the collaborations with Greta Svabo Bech (amazing in Hide) are more ordinary here. Like some other tracks. But except those ones, the album contains some nuggets, including three of the four singles: My Name Is Thunder, Saint City Bass Rocker and Pirates, Punks & Politics; but also Wolfpack, All Black Everything, Kill Or Be Killed and above all, The Day Of The Locust:



     The title is a reference to a movie named The Day Of The Locust (adapted from the novel of the same name written in 1939 by Nathanael West), described in those terms by its dedicated Wikipedia’s page:

"[…] depicts the alienation and desperation of a disparate group of individuals whose dreams of success have failed to come true."

     The book was adapted for the cinema in 1975, so in the end of the punk movement, and its main theme brings back to this musical genre’s thematics. That explains why this track makes a reference to it. It’s a long instrumental that sounds like a theme dedicated to a particular location.

Note: This music reaches another level of intensity when being listened while driving. That point is totally subjective et I ignore if it has a link with the original book/movie, in which the characters would be always in movement or on the road maybe.


Promotional photography for an 2014’s advertising of the Alfa Romeo Mito, in Sanremo (Italy).


     Finally, 10,000 Prophets proves for the third time with this album that Bloody’s instrumental tracks are their biggest asset. And the bonus track Fever, featuring Nic Cester (singer of the band Jet), is also excellent: groovy and rocky as hell.


     We can deplore the absence of Dennis Lyxzén on this album. Neither good or bad, we can find the Bloody ’s sound half the time, when the others are more into EDM or pop, with featurings that got more frequent with the time and the success of the band.





     Except the third album’s tour, there was any release or major events about the Bloody or Rifo during this year. Only the official video for the track Nothing But Love:



     The year started with, the 23rd of April, the release of a remix of Warp 1.9 (to celebrate the 10 years of the Bloody’s hit initial release) with some post Hide/SBCR sonorities.


     Two singles will follow the next month, Wildchild and Fkn Face, announcing the release of an EP the 21th of June: Heavy. The punk is gone this time, for house with very present Hi-Hats, along with some darker instrumentations, reminding those of the SBCR solo project. Heavy seems to have been created specifically for being played in some underground clubs and the overall looks like an experimentation not linked with all the other productions of the band made until there.


The cover art of the EP.


     Will follow a series of singles with guests, all excellents and starting a new turning point for the band. Run is the first to be released, the 27th of June, featuring ShockOne:


     Zoning with Zhu followed a few months later, the 6th of September: it's a calmer featuring that explore the enigmatic atmosphere of Zhu, while blending with it the energy of Rifo’s productions.


    DAWGS, featuring Holly, is released the 12th of September. "Energic" and "Compact" are to me the best words to describe that track:


     And finally, the 24th of September, Grand Slam is released, a Jayceeoh’s track featuring The Bloody Beetroots. This one concludes this series of 2019's collaborations.


     Following these various collaborations, the last production of the band for this year (and until now), released the 9th of October, is a remix: Frank Carter & the Rattlesnakes - Why A Butterfly Can't Love A Spider (The Bloody Beetroots Remix). An excellent remix.


     And to end with 2019, Bob Rifo got a commercial partnership with the french customisable motoocycles’ constructor Dab Motors.


     A promotional video dedicated to this collaboration was released:


     Along with a making-of:





     After all those releases, 2020 should be a calmer year from this point of view, especially because of the worldwide tour, from which here’s one of the promotional posters:


Poster of the Italian's dates from the tour.


     And to end this retrospective, let’s come back in the past for a moment, almost at the beginning of the band, with a 2007’s mixtape, full or remixes of that time:


     And with a personal selection of various not widely known Bloody Beetroots' remixes from 2008 to 2014:

Cazals - Somebody Somewhere (The Bloody Beetroots Remix) - 2008
Timbaland - Throw It On Me (The Bloody Beetroots Remix) - 2008
Rinôçerôse - Where You From? (Produced by The Bloody Beetroots) - 2009
Metallica - Ill to destroy (The Bloody Beetroots Remix) - 2009
Ryskee Feat. Leslie Ming - Leave Me Amor (The Bloody Beetroots Remix) - 2009
Bob Rifo - Kinky Malinki (Bloody Beetroots Remix) - 2010
Bob Rifo was the punk band of Sir Bob Cornelius Rifo and Tommy Tea, before the Bloody. Here's a link of the original track.
Naive New Beaters - Live Good (The Bloody Beetroots Remix) [Bonus Track] - 2010
Britney Spears - Till The World Ends (Bloody Beatroots Extended Remix) - 2011
Rob Zombie - Burn (The Bloody Beetroots Motherfucker Remix) - 2012
The Bloody Beetroots - ARP (Originally performed by Jackson and His Computer Band) - 2014
Depeche Mode - Should Be Higher (The Bloody Beetroots Remix) - 2014




     I couldn't resist to make a track in the style of the early sounds of the band. Here it is:

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