O n the backstreets of Bassano del Grappa, in northern Italy, an ungodly experiment took place. Elements of Slayer and Daft Punk were fused together to produce the mutant progeny that is Bloody Beetroots, a vicious electro duo whose music hits like a fist to the face. Clad in expressionless fright masks they are bringing horror and individuality back to the world of electronica, slaying dancefloors across the globe and leaving a bloody aftermath of dancefloor devastation in their wake, from Europe and the US to Australia and Japan. The cult of the Bloody Beetroots is growing. And there’s no escape from their addictive, acidic techno attack.
It all started off very differently, with producer and DJ Sir Bob Cornelius Rifo training in classical music as a child, before being lured to the dark side by the raw passion of punk, playing in various punk bands before being turned onto the possibilities of electronica. ‘Electronic music is based on conventional music, but it’s also a vehicle for developing new sounds,’ explains Rifo. ‘It has the capacity to generate a new aesthetic of music and this is both indispensable and very attractive.’ Citing influences such as Chopin, Debussy, Daft Punk, Black Flag and Joy Division, it is Rifo who writes and produces all the Bloody Beetroots output, but to add extra muscle to live sets he entered a partnership with DJ Tommy Tea in 2007. ‘He was the tour manager with my first punk band,’ says Rifo of how they first joined forces. ‘Now he takes
aspirations reaching far beyond just music. The thumping paranoia and frenzied breakdown of ‘Cornelius’ for example was written as an homage to revered sci-fi writer Michael Moorcock and his creation, Jerry Cornelius – a polysexual, hipster secret agent and adventurer. They also issued a limited edition t-shirt from graphic designer Turbo Krapfen and an accompanying video from French filmmaker Mathieu Danet (think an even grimier version of The Prodigy’s controversial ‘Smack My Bitch Up’ promo) all released on 18 December, Moorock and Rifo’s shared birthday. ‘It’s about expanding the perception of music, destroying the definition of genre and being free,’ says Rifo. ‘All barriers are down, at last. We can consume anything, anywhere, and this is great.’
its
and Anyone who has heard the sonic assault of ‘Awesome’ juddering bass underpinning the threatening, sinister vocals from Cool Kids or the paranoid tick tock countdown and terrifying screams of ‘Warp’ (featuring Steve Aoki) would predict that forthcoming album Romborama should slay all before them, setting a new high in dark electronica. And what can we expect from their debut long player of computerised malice? ‘To be destabilised,’ laughs Rifo.
As their remix work for kindred spirits such as MSTRKRFT, Etienne de Crecy, Timbaland, Crookers and Benny Benassi shows, even when starting from benign beginnings, the Beetroots wreak havoc. Their remix of chart dance starlet Robyn instills her ‘Cobrastyle’
THERE’S NO ESCAPE FROM THEIR ADDICTIVE ACIDIC TECHNO ATTACK
part in the DJ sets adding a dynamic, visual element as well as live musical manipulation.’ Despite their electronic sound they are still heavily influenced by the power of punk: ‘not only as a music, but as a lifestyle.’ Added to this potent brew is a love of comic books, with the black masks borrowed from Spider-Man arch-villain Venom, but it was R a n k X e ro x, an uncompromising and subversive sci-fi strip from the pen of Tanino Liberatore, that really captivated the young Rifo. ‘When I was eight years old it drastically changed how I looked at things, I love the way they talk, the ultraviolence and the sense of action in the drawings.’ Its dark, unapologetic philosophy can be heard in their dystopian, futuristic music. They have even managed to secure the talents of Rifo’s childhood hero, with Liberatore providing the artwork for their debut album Romborama, hitting the shelves later this month.
The masks add a strong visual component, creating their idiosyncratic faceless alter-egos, and emphasising all encompassing world view. ‘I have a great feeling for Venetian Commedia dell’arte [15th and 16th century Venetian carnival masks and improvised street theatre] and I’m quite fond of Spider-Man too.’ their unique,
The final piece of the puzzle was a distinctive name, though its origin is perhaps more logical than you might imagine: ‘It’s pure word architecture to optimise Google searches.’
It’s a many tentacled project, with
with a bleak, claustrophobic stomp and their rerub of ‘Boyfriend’ by Danish pop moppets Alphabeat produces frenzied results.
It’s a desolate and forbidding world that the Beetroots have created. An electronic soundtrack to the bacchanalian rock ‘n’ roll anarchy playing out as the world burns. ‘Angst is the source of everything,’ says Rifo. ‘Darkness nestles in my thoughts.’ Full live shows are promised for 2010, and as you’d expect, these will go far beyond the usual set of sequencers, banks of keyboards and knob twiddling. ‘I’m working on a live show with l’Accademia di Belle Arti di Milano [The Academy of Fine Arts in Milan],’ explains Rifo, indicating their commitment to multi-media domination. Rifo’s constant craving for diversity has also seen him collaborate with Steve Aoki in hardcore punk band Rifoki and with established French electronica rock act Rinôçérôse on their latest album Futurino.
Now they are bringing their singular brand of alluring digital destruction to the decks of Death Disco, the Arches’ monthly night of electro excess (alongside special guest His Majesty Andre). When asked what to expect on the night, ‘a visit from the fire brigade’ is Rifo’s mischievous reply.
Be warned, The Bloody Beetroots are
coming. No one is safe.
The Bloody Beetroots headline Death Disco at the Arches, Glasgow, Sat 22 Aug.
BLOODY BEETROOTS
MASKED CRUSADERS The good, the bad and the ugly of masked characters are no new phenomenon, cropping up across the genres. Lizzie Mitchell brings you some of the best.
PHANTOM OF THE OPERA The disfigured Phantom haunts the bowels of the Paris Opera House, donning his famous mask and surfacing to stalk the luscious young Christine night after night in what is now the longest running Broadway show in history.
BANKSY So far, there’s been no conclusive unmasking of Britain’s favourite graffiti artist. His parents still think he’s a painter and decorator. Banksy says ‘I am unable to comment on who may or may not be Banksy, but anyone described as “good at drawing” doesn’t sound like Banksy to me.’
SLIPKNOT The nu-metal superstars claim that their horror show masks are a representation of how their music makes them feel, and that they help them to channel an animal-like mentality. For the song ‘Vermilion’ they swap their usual face coverings for ‘death masks’ made from casts of their own faces.
THE INVISIBLE MAN The hero of H G Wells’ science fiction novella is Griffin, a scientist who manages to make himself invisible, but can’t work out how to reverse the procedure. Not quite masked but definitely hard to identify. Best to watch the classic 1933 film version, where Griffin is voiced by Claude Rains.
REY MYSTERIO Champion wrestler with a penchant for facial privacy. With the mask on (and it only comes off when he loses) he’s a forbidding figure. But fear not – you too can look like a Power Ranger with pecs! Buy your replica mask now on www.reymysterio.com.
20–27 Aug 2009 THE LIST 11